Rhapsody in the Organ Works of Herbert Howells: An Examination of Rhapsody-Based Organ Works Both With and Without Text Associations and a Look at the Expressive Effects Implied by the Texts
Item Type text; Electronic Dissertation
Authors Grice, Donald James
Publisher The University of Arizona.
Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Download date 03/10/2021 13:32:44
Link to Item http://hdl.handle.net/10150/195927 RHAPSODY IN THE ORGAN WORKS OF HERBERT HOWELLS:
AN EXAMINATION OF RHAPSODY-BASED ORGAN WORKS BOTH WITH AND WITHOUT TEXT
ASSOCIATIONS AND A LOOK AT THE EXPRESSIVE EFFECTS IMPLIED BY THE TEXTS
by
Donald James Grice
______
A Document Submitted to the Faculty of the
SCHOOL OF MUSIC
In Partial Fulfillment of the Requirements For the Degree of
DOCTOR OF MUSICAL ARTS
In the Graduate College
THE UNIVERSITY OF ARIZONA
2008
THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE
As members of the Document Committee, we certify that we have read the document prepared by Donald James Grice entitled Rhapsody in the Organ Works of Herbert Howells: An Examination of Rhapsody-Based Organ Works Both With and Without Text Associations and a Look at the Expressive Effects Implied by the Texts and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts
______Date: June 12, 2008 Pamela Decker
______Date: June 12, 2008 John Brobeck
______Date: June 12, 2008 Rex Woods
Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.
I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
______Date: June 12, 2008 Document Director: Pamela Decker
3
STATEMENT BY AUTHOR
This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.
Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author.
SIGNED: Donald James Grice
4
TABLE OF CONTENTS
LIST OF FIGURES ...... 7
LIST OF MUSICAL EXAMPLES...... 8
ABSTRACT...... 11
CHAPTER ONE: INTRODUCTION...... 12
CHAPTER TWO: BIOGRAPHY AND INFLUENCES...... 17
Biography ...... 17
Influences...... 23
CHAPTER THREE: MUSICAL LANGUAGE AND STYLE...... 26
CHAPTER FOUR: THE OUTPUT...... 30
CHAPTER FIVE: COMPARISON OF RHAPSODY-BASED WORKS BOTH WITH AND WITHOUT TEXT ASSOCIATION ...... 41
Arch form...... 41
Dynamics ...... 42
Tempo ...... 43
Texture...... 44
Counterpoint ...... 47
Harmonic language...... 49
Signature Chord ...... 49
Cross Relations ...... 51
Enharmonic Change...... 52
Third Relations ...... 54
5
TABLE OF CONTENTS - Continued
Melodic Style...... 55
Signature Motives...... 57
Thematic Transformation ...... 59
Rhythm and Meter ...... 60
CHAPTER SIX: EXAMINATION OF TEXTS AND THEIR RELATIONSHIP TO THE EXPRESSIVE EFFECT OF THE MUSIC...... 64
Psalm Prelude, Set 1, No. 1 ...... 64
Psalm Prelude, Set 1, No. 2 ...... 67
Psalm Prelude, Set 1, No. 3 ...... 69
Psalm Prelude, Set 2, No. 1 ...... 72
Psalm Prelude, Set 2, No. 2 ...... 76
Psalm Prelude, Set 2, No. 3 ...... 80
Rhapsody IV ...... 82
Prelude De Profundis ...... 84
CHAPTER SEVEN: PERFORMANCE CONSIDERATIONS ...... 90
The Evolution of the British Organ in the Twentieth Century ...... 90
Acoustical Properties of English Cathedrals ...... 92
Implications for North American Organists ...... 92
CHAPTER EIGHT: CONCLUSION ...... 99
APPENDIX A: DEDICATEES OF HOWELLS’S ORGAN WORKS...... 101
APPENDIX B: PERMISSIONS...... 109
6
TABLE OF CONTENTS - Continued
REFERENCES ...... 110 7
LIST OF FIGURES
Figure 1. Rhapsody-Based Organ Works with Text Association...... 14
Figure 2. Rhapsody-Based Organ Works without Text Association...... 15
Figure 3. Organ Works by Herbert Howells...... 35
Figure 4. Dynamic Levels Indicated in Psalm Prelude, Set 2, No. 1 ...... 42
Figure 5. Dynamic Levels Indicated in Rhapsody No. 1 ...... 43
Figure 6. Number of Metric Changes in Rhapsody-Based Works with Text Association
...... 62
Figure 7. Number of Metric Changes in Rhapsody-Based Works without Text
Association...... 62
8
LIST OF MUSICAL EXAMPLES
Example 5-1. Psalm Prelude, Set 2, No. 1 , m. 1...... 44
Example 5-2. Psalm Prelude, Set 2, No. 1 , m. 64...... 45
Example 5-3. Psalm Prelude, Set 2, No. 1 , m. 96...... 45
Example 5-4. Fugue, Chorale and Epilogue , mm. 1-2...... 46
Example 5-5. Fugue, Chorale and Epilogue , mm. 63-64...... 46
Example 5-6. Fugue, Chorale and Epilogue , mm. 133-134...... 47
Example 5-7. Psalm Prelude, Set 2, No. 3 , mm.76-83 ...... 48
Example 5-8. Fugue, Chorale and Epilogue , mm. 1-8...... 49
Example 5-9. Psalm Prelude, Set 2, No. 1 , mm. 68-69 ...... 50
Example 5-10. Sonata No. 2 Movement II mm. 31-32...... 51
Example 5-11. Psalm Prelude, Set 2, No. 3 , mm. 6-7 ...... 52
Example 5-12. Rhapsody No. 2 , m. 94 ...... 52
Example 5-13. Psalm Prelude, Set 2, No. 3 , mm. 118-119 ...... 53
Example 5-14. Rhapsody No. 2 , mm. 65-66...... 54
Example 5-15. Psalm Prelude, Set 2, No. 1 , mm. 82-84 ...... 54
Example 5-16. Rhapsody No. 3 , m. 1 ...... 55
Example 5-17. Psalm Prelude, Set 2, No. 1 , mm. 27-28 ...... 56
Example 5-18. Sonata No. 2 , Movement II, mm. 1-2...... 56
Example 5-19. Psalm Prelude, Set 2, No. 3 , m 139...... 57
Example 5-20. Rhapsody No. 3 , m 80 ...... 57
Example 5-21. A rhythmic motive used by Howells...... 57 9
LIST OF MUSICAL EXAMPLES - Continued
Example 5-22. Psalm Prelude, Set 2, No. 3 , m. 95...... 58
Example 5-23. Fugue, Chorale and Epilogue , mm. 13-14...... 58
Example 5-24. Psalm Prelude, Set 2, No. 1 , mm. 20-22 ...... 59
Example 5-25. Psalm Prelude, Set 2, No. 1 , mm. 76-80 ...... 59
Example 5-26. Fugue, Chorale and Epilogue , mm. 1-4...... 60
Example 5-27. Fugue, Chorale and Epilogue , mm. 86-90...... 60
Example 6-1. Psalm Prelude, Set 1, No. 1, mm. 1-5 ...... 64
Example 6-2. Psalm Prelude, Set 1, No. 1, mm. 16-17 ...... 65
Example 6-3. Psalm Prelude, Set 1, No. 1 , mm. 47-58 ...... 66
Example 6-4. Psalm Prelude, Set 1, No. 1 , mm. 93-96 ...... 67
Example 6-5. Psalm Prelude, Set 1, No. 2 , mm. 1-4 ...... 67
Example 6-6. Psalm Prelude, Set 1, No. 2 , mm. 42-47 ...... 68
Example 6-7. Psalm Prelude, Set 1, No. 3 , mm. 1-11 ...... 70
Example 6-8. Psalm Prelude, Set 1, No. 3 , mm. 44-49 ...... 71
Example 6-9. Psalm Prelude, Set 1, No. 3 , mm. 74-77 ...... 72
Example 6-10. Psalm Prelude, Set 2, No. 1 , mm. 1-2 ...... 73
Example 6-11. Psalm Prelude, Set 2, No. 1 , mm. 64-66 ...... 74
Example 6-12. Psalm Prelude, Set 2, No. 1 , mm. 94-96 ...... 75
Example 6-13. Hymnus Paradisi V, “I Heard a Voice from Heaven,” mm. 60-64...... 75
Example 6-14. Psalm Prelude, Set 2, No. 2 , mm. 1-6 ...... 77
Example 6-15. Psalm Prelude, Set 2, No. 2, mm. 22-24 ...... 78 10
LIST OF MUSICAL EXAMPLES - Continued
Example 6-16. Psalm Prelude, Set 2, No. 2 , mm. 58-59 ...... 78
Example 6-17. Psalm Prelude, Set 2, No. 2 , m. 30...... 79
Example 6-18. Psalm Prelude, Set 2, No. 2 , m. 32...... 79
Example 6-19. Psalm Prelude, Set 2, No. 3 , mm. 1-3 ...... 81
Example 6-20. Psalm Prelude, Set 2, No. 3 , mm. 51-55 ...... 82
Example 6-21. Rhapsody IV , mm. 1-5...... 83
Example 6-22. Rhapsody IV , m. 1 ...... 83
Example 6-23. Pedal Part, Rhapsody IV , mm. 133-142...... 84
Example 6-24. Prelude De Profundis , mm. 1-6 ...... 85
Example 6-25. Prelude De Profundis , mm. 39-47 ...... 86
Example 6-26. Prelude De Profundis , mm. 65-70 ...... 87
Example 6-27. Prelude De Profundis , mm. 93-95 ...... 88
Example 6-28. Prelude De Profundis , mm. 117-121 ...... 88
Example 6-29. Prelude De Profundis , mm. 142-146 ...... 89 11
ABSTRACT
English composer Herbert Howells (1892-1983) developed a highly personal style that easily identifies his music. While other composers in the twentieth century sought novel means of expression including serialism, aleatoric techniques, and electronic music, Howells endeavored to find new things to say using traditional methods of composition. His reputation now rests with his contributions to choral and organ literature, but initially he was known as a composer of songs and chamber music.
Early in his career, Howells exhibited an interest in rhapsody and many of his organ works utilize the procedure. Typically, the pieces begin and end quietly, building to a climax in the central section brought about by an increase in tempo, dynamics, and density of texture. For eight of thirteen rhapsody-based works, Howells has assigned a text association: in each case, a verse from Psalms. The other five rhapsody-based works bear no text association.
By comparing the compositional traits and style characteristics of the rhapsody- based works both with and without text associations, the study will show rhapsody procedure to be used in essentially the same manner throughout Howells’s output. His compositional techniques including harmonic language, use of arch form, signature motives, and thematic transformation remain consistent. The study will then examine the pieces with text associations to provide possible links between the texts and the expressive effects of the musical gestures. These links can be used by the performer to inform interpretations of the music. 12
CHAPTER ONE: INTRODUCTION
Considered one of the most important and influential figures in English musical life in the twentieth century, Herbert Howells composed a significant body of literature for the organ.1 The organ works were composed over a span of sixty-six years, from 1911 to
1977. In that time British musical style passed from the romanticism of Elgar, Parry, and
Stanford, through the nationalism of Vaughan Williams and transitional composers such as
Britten and Tippett, to the neo-classicism of Brian Brockless (1926-1995) and Philip
Cranmer (1918-2006). 2
Howells’s current reputation as a composer derives from the significant contributions he made to choral and organ literature, but in the 1920s and 1930s he was primarily a composer of songs and chamber music. Like his predecessors Elgar and
Vaughan Williams, Howells developed a highly personal compositional style that makes most of his works instantly recognizable, regardless of their genre or scope. 3 While composers throughout the twentieth century sought novel means of expression such as serial music, aleatoric techniques, and electronic music, Howells endeavored to find new things to say using conventional methods of composition. 4
One of the procedures that Howells utilized frequently in his compositional output was rhapsody. This interest in rhapsody appeared early in his career. It may have been
1 David Willcocks, “Herbert Howells,” The R.C.M. Magazine 79 (1983): 104, quoted in Peter Hardwick, British Organ Music of the Twentieth Century (Lanham, Maryland: The Scarecrow Press, Inc., 2003), 122. 2 John Nixon McMillan, The Organ Works of Herbert Howells (1892-1983) (Ann Arbor, MI: University Microfilms, 1997), 40. 3 Christopher Palmer, Herbert Howells, A Study (Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1978), 6. 4 Palmer, Herbert Howells, A Study , 6. 13
fueled in part by the political environment in the years leading up to and including World
War I. Composers in England were turning away from German models and were
searching for means of expression that could be considered more English. Complex
moods could be expressed more appropriately in a rhapsody procedure than in a sonata
form, and this no doubt appealed to Howells.5
In The Organ Works of Herbert Howells (1892-1983) John Nixon McMillan asserts that rhapsody is the most frequently used procedure in the organ works.6 He identifies thirteen works that utilize rhapsody procedure. 7 Howells conveys the improvisatory and
expressive nature of each of these pieces by freely developing a single theme. While
typically the rhapsodies begin quietly, build to a climax in the middle, and then subside, the
pattern may be reversed so that there is a grand opening and closing with a gentler middle
section. In eight of the thirteen works Howells has provided a text reference, in each case,
a verse from the book of Psalms . The other five pieces have no text association.
Figure 2 lists the rhapsody-based organ works for which Howells has assigned a
text reference and Figure 3 identifies the rhapsody-based organ works not associated with
a text. For each of the Three Psalm Preludes of Set 1, the chapter and verse numbers
from Psalms appear at the top of the score, but the passage is not printed—Howells
leaves it to the performer to follow the reference and locate the text. For each of the
Three Psalm Preludes of Set 2, the passage is printed along with the verse and chapter
reference; the second and third of the set have the text given in English, while for the first
5 Katharine E. Eggar, “Herbert Howells on Modern Composition,” The Music Teacher 16 (1923): 214, quoted in McMillan, 95. 6 Ph.D. dissertation cited in footnote 2 7 While an argument could be made for considering even more of the Howells organ works to be rhapsody-based, this study will focus on the thirteen works thus identified by John Nixon McMillan. 14
of the set, the text is given in Latin. Rhapsody IV has the Latin text bene psallite in vociferatione given as a subtitle with no reference to the specific chapter and verse from
Psalms . This is a reference, however, to Psalm 33:3, which had been used for Psalm
Prelude, Set 2, No. 3 . Prelude De Profundis has the text reference embedded in the title.
There are no additional clues provided regarding verse and chapter, but this Latin phrase points to Psalm 130: 1, which had been previously connected to Psalm Prelude, Set 2,
No. 1 .
Figure 1. Rhapsody-Based Organ Works with Text Association Title Text Psalm Prelude, Set Psalm 34:6 1, No. 1 This poor man cried, and the Lord heard him, and saved him out of all his troubles. Psalm Prelude, Set Psalm 37:11 1, No. 2 But the meek shall inherit the earth; and shall delight themselves in the abundance of peace. Psalm Prelude, Set Psalm 23:4 1, No. 3 Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff they comfort me. Psalm Prelude, Set Psalm 130: 1 2, No. 1 Out of the depths have I cried unto thee, O LORD. Psalm Prelude, Set Psalm 139:11 2, No. 2 Yea, the darkness is no darkness with Thee, but the night is as clear as the day: the darkness and light to Thee are both alike. Psalm Prelude, Set Psalm 33:3 2, No. 3 Sing unto Him a new song: play skillfully with a loud noise. Rhapsody IV Bene psallite in vociferatione (from Exsultate justi ) Sing skillfully with a strong voice Prelude De Psalm 130 Profundis Out of the depths have I cried to thee, O Lord
15
Figure 2. Rhapsody-Based Organ Works without Text Association Title Text Rhapsody No. 1 No text Rhapsody No. 2 No text Rhapsody No. 3 No text Sonata No. 2 in D (1932) Movement II No text Fugue, Chorale and Epilogue (No. 4 of Six No text Pieces )
The Oxford Companion to Music describes rhapsody as an instrumental piece in one movement, which may be passionate, nostalgic, or improvisatory. 8 The word is derived
from the Greek rhapsõdos , referring to a reciter of epic poetry. By the sixteenth century,
the term came to mean not only an epic poem, but also any effusion of sentiment or feeling.
In the late nineteenth century the rhapsody emerged as a large-scale nationalistic “epic” for
orchestra, a change brought about largely by Liszt in his nineteen Hungarian Rhapsodies
for piano.9 Composers of orchestral rhapsodies include Dvorák, Glazunov, Saint-Saëns,
Bartók, and Ravel. English examples with which Howells was undoubtedly familiar
include Norfolk Rhapsody by Vaughan Williams, A Shropshire Lad by Butterworth, and
Brigg Fair by Delius. There is no set of characteristics common to all these expressions of
rhapsody, but many of the pieces do exhibit a rapturous character, often expressed in an
improvised form.
In an article on his own music, Howells describes his use of the procedure, referring
to his Rhapsody (1919) for piano as an illustration. Within his description we find the
basic elements of a rhapsody, which can be found in a number of the organ works:
8 Wendy Thompson and Jane Bellingham, “Rhapsody,” The Oxford Companion to Music , ed. Alison Latham (Oxford: Oxford University Press, 2002), 1054. 9 John Rink, “Rhapsody,” Grove Music Online (Accessed 23 October 2007),
It is perhaps the whole secret of “inspiration” that an idea should seize a composer’s imagination and that simultaneously the imagination should seize upon the idea, the objective and subjective activities reacting upon each other until both have had full play; and in a rhapsodic composition there should be nothing extraneous to the one idea upon which the consciousness has brooded in rapture… the preparation of the background, the emergence of the tune which is the reason of the rhapsody, the elaboration of the brooding background, the fuller version of the tune, the gradual dying down and fading, and the ending of the spell. 10
Even though Howells is discussing a piano work in this quotation, he clearly employs the same approach in the organ works utilizing rhapsody procedure. In pieces both with and without text associations, we find the preparation of the background, the emergence of the tune, the elaboration of the background, the full statement of the tune, and the gradual fading away. Additionally, the musical style characteristics remain consistent regardless of the presence of a text connection. Chapter Five will show that the compositional techniques including harmonic language, signature motives, and thematic transformation are unchanged whether or not a text is present. Howells has chosen to assign texts to a certain segment of this output however, and where he has done so, the texts provide clues that can be used by the performer to inform the interpretation of the works. Chapter Six offers possible links between the texts and the expressive effects of the musical gestures.
10 Eggar, quoted in McMillan, 47-48. 17
CHAPTER TWO: BIOGRAPHY AND INFLUENCES
Biography
Herbert Norman Howells was born in Lydney, Gloucestershire on 17 October
1892. The tranquil beauty of the English West Country became a shaping force in his musical personality, and it was to this pastoral landscape that Howells turned frequently for pause and refreshment. Howells “came naturally into an inheritance of beauty,” for he lived near the river Severn, the Forest of Dean, and the hills of the Cotswold
Country. 11
The youngest son of Oliver and Elizabeth Burgham Howells, Herbert had five brothers and sisters. His eldest sister Florence was his first music teacher. 12 Formal
education was undertaken at the Lydney Grammar School (1905-1908), where Howells
was responsible for collective music-making in morning prayers and various theatrical
enterprises.13 He gained his first practical experience in church music at the local parish
church as choirboy and assistant organist.
The “official” organist was a tin-plate worker whose organ-playing abilities were somewhat minimal: as a result of which the vicar would have to be finding constant and clever reasons to induce Baxter—the organist’s name—to sing tenor in the choir, while Herbert accompanied on the organ. 14
In 1905 Howells commenced study with Herbert Brewer, Organist and Master of
the Choristers at Gloucester Cathedral. In 1909 he became an articled pupil in the
11 Marion M. Scott, “Introduction: 17 Herbert Howells,” The Music Bulletin 6 (1924): 140. Quoted in Peter John Hodgson, “The Music of Hebert Howells” (Ph.D. dissertation, The University of Colorado, 1970), 2. 12 Hodgson, 4. 13 Hodgson, 5. 14 Christopher Palmer, Herbert Howells—A Centenary Celebration (London: Thames Publishing, 1992), 11. 18
cathedral.15 With Brewer’s guidance, Howells’s creative personality began to emerge.
The influence of the ancient cathedral with its almost timeless atmosphere and rich
traditions proved most significant, along with his introduction to the music of Ralph
Vaughan Williams. 16
A performance of Vaughan Williams’s Fantasia on a Theme by Thomas Tallis at
Gloucester Cathedral in 1910 marked the beginning of Howell’s acquaintance with the senior composer’s work. The audience had assembled in the cathedral for a performance of Elgar’s The Dream of Gerontius . Before the main work of the evening was presented,
Vaughan Williams conducted a performance of his piece. Howells described the event:
The Gerontius audience was kept impatiently waiting for twenty minutes and at the end of it this giant of a man—the composer [Vaughan Williams]—left the rostrum and much to my gratification, but also embarrassment, came and sat next to me. We followed the score of Gerontius together and he left me his autograph on the proofs of some little things of mine I was carrying proudly about with me. 17
Howells was so taken with the music that after the performance he and fellow student
Ivor Gurney paced the streets of Gloucester all night, unable to sleep. 18 The link between
Howells and Vaughan Williams, established on this occasion, ultimately developed into a life-long friendship.
15 As an articled pupil, Howells was expected to acquire many skills. At the organ, he should be able to accompany hymns, chant, choral settings, anthems, and oratorios; perform standard organ literature; harmonize and improvise; read from orchestral and open choral scores. He would receive lessons in music theory, form, harmony, counterpoint, fugue, orchestration, and ear training. He was able to observe choral training and the performance of at least two full-sung choral services each day. He was expected to leave with all the skills necessary to direct a choral program on his own. He was exposed to organ and choral repertoire by organist-composers who wrote for a liturgical milieu. He would be encouraged to develop his own compositional skills along these lines if he were interested. He would also learn to move among educated and sophisticated society. McMillan, 8. 16 Hodgson, 7. 17 Palmer, Herbert Howells, A Study , 11. 18 Palmer, Herbert Howells—A Centenary Celebration , 13. 19
In 1911 Howells left Gloucester Cathedral to devote himself to composition. He composed a number of works including the Organ Sonata in C Minor , a piano and violin sonata, and partsongs, which he submitted to the Royal College of Music early in 1912 as his application for the Open Scholarship in Composition. Howells won the contest and entered the College on 6 May 1912, remaining there as a student until 21 July 1917. 19
At the Royal College of Music Howells studied music history and literature with
Sir Hubert Hastings Parry, composition with Sir Charles Villiers Stanford, harmony and counterpoint with Charles Wood, organ with Sir Walter Parratt, and choral techniques with Sir Walford Davies. Howells distinguished himself while at the Royal College by winning numerous awards and prizes.20 Outside the college he was the recipient of various public prizes, including recognition from the Carnegie United Kingdom Trust for his Piano Quartet in A Minor , Op. 21 (1916), and an award from the W. W. Cobbett
Folksong Phantasy Competition for his Phantasy String Quartet , Op. 25 (1916-1917).
In March 1917 Howells accepted a post as sub-organist of Salisbury Cathedral, but relinquished the position six months later when he was diagnosed with Graves’ disease and given only six months to live. As there was then no known cure, he was asked by a leading heart specialist if he would be willing to act as a guinea pig for radium treatment, then untried. For the next three years he sought recuperation in
Gloucestershire and elsewhere. 21 He was eventually cured and lived to be ninety. 22
19 Hodgson, 10. 20 Hodgson, 10. 21 Hodgson, 16. 22 Palmer, Herbert Howells—A Centenary Celebration , 22. 20
Howells continued to compose during his convalescence. Works from this time include Puck’s Minuet for orchestra, Op. 20, No. 1 (1917); Sir Patrick Spens , Op. 23
(1917); A Spotless Rose (SATB, 1919); and Rhapsody No. 3 for organ, composed during one night in March 1918 while visiting York, when a German zeppelin raid made sleep impossible. 23
Two important events occurred in 1920. The first was his marriage to the singer
Dorothy Eveline Goozee Dawe, to whom Howells had dedicated his Five Songs for Low
Voice and Piano (1911).24 The couple had two children: Ursula Mary, born on 17
September 1922, who became an actress; and Michael Kendrick, born on 12 April 1926, who died in childhood. 25 The second significant event of 1920 for Howells was his appointment as a Teacher of Composition at the Royal College of Music, London, where he taught until July 1979. 26 During his lengthy tenure at the Royal College of Music
Howells simultaneously held teaching posts at other institutions, including the Music
Directorship at St. Paul’s Girls’ School, London (1936-62), and the King Edward
Professorship of Music at the University of London (1954-64). 27
His growing reputation and success as a composer led to a commission from the
Royal Philharmonic Society for a piano concerto to be performed in Queen’s Hall in
1925. Although the work had already been accepted for publication, the negative critical reception caused Howells to withdraw it for revision and it was never published. This
23 Hodgson, 17. 24 Joyce Anne Schemanske, “The Organ Music of Herbert Howells as Influenced by the English Musical Renaissance” (D. Mus. dissertation, Northwestern University, 1982), 58. 25 Palmer, Herbert Howells—A Centenary Celebration , 89 . 26 Hodgson, 17-18. 27 Hodgson, 19. 21
experience proved to be a defining moment in Howells’s life, and as a result, he
composed with less frequency during the next six or seven years. Compositions from the
time include his set of twelve pieces for clavichord entitled Lambert’s Clavichord (1927)
and the Organ Sonata No. 2 (1932).
The tragic death of Howells’s nine-year-old son Michael from polio in 1935
moved Howells to rework his Requiem of 1932 into Hymnus Paradisi for soloists,
chorus, and orchestra; this work is considered by many to be his masterpiece. 28
Although completed in 1938, the six-movement work was not performed until September
1950, when, at the urging of Ralph Vaughan Williams, it was given its premiere at the
Three Choirs Festival in Gloucester. 29 Hymnus Paradisi seemed to mark a turning point
for Howells. From 1938 on, he concentrated his compositional efforts on music for the
Anglican liturgy and works with a religious basis. Howells composed many settings of
the canticles, often for specific choirs and cathedrals such as King’s College, Cambridge
and St. Paul’s Cathedral. Organ works from this time include the second set of Psalm
Preludes (1938-39) and the Six Pieces for Organ (1939-40).
In 1937 Howells was granted a Doctor of Music degree by the University of
Oxford. Honorary fellowships followed from Trinity College of Music, The Royal
School of Church Music, and St. John’s College, Cambridge. He received an Honorary
Doctor of Music from the University of Cambridge for his work as an adjudicator at
countless British music festivals and as an educator.30 In 1941 Howells began to
28 Christopher Palmer in Herbert Howells, A Study , 23, claims that Michael died of spinal meningitis. 29 Schemanske, 61. 22
commute on weekends to Cambridge, where he served as Acting Organist and
Choirmaster of St. John’s College. He remained there through the duration of World
War II.
The positive reception of Hymnus Paradisi in 1950 gave Howells a renewed prominence. At the end of 1952 he composed an anthem for the upcoming coronation of
Queen Elizabeth II, and an organ piece for a Scottish wedding entitled Siciliano for a
High Ceremony .31 Arguably his most prestigious honor was conferred in 1953, when he was named a Commander of the Order of the British Empire in the Queen’s Coronation
Honour List, in recognition of his outstanding services to music. 32
In the second part of the twentieth century, Howells gave leadership to church music organizations and continued to compose, teach, and adjudicate. In the 1950s he became President of both the Royal College of Organists and the Plainsong and
Mediaeval Society. It was at this time that he completed Rhapsody IV and Prelude De
Profundis for organ. 33 During the 1960s and 70s he wrote many canticles and some anthems and piano pieces. The 1971 Partita for organ was dedicated to the Prime
Minister, Edward Heath, whom Howells had known since Heath was fifteen. Following the death of Dorothy Howells on 22 June 1975, Howells lived for nearly eight years. His final two organ works were penned when the composer was in his eighties. 34 He died on
30 Schemanske, 62. 31 McMillan, 24. 32 Schemanske, 62. 33 McMillan, 24. 34 McMillan, 25. 23
23 February 1983, exactly forty-nine years after the death of Elgar and the day following the death of his friend and colleague, conductor Sir Adrian Boult. 35
Influences
The early works of Howells suggest the influence of Elgar, while elements of
Delius can also be detected in his writing. Howells’s music exhibits Delian harmonic inflections and both composers shared a fondness for expressing a sense of yearning. 36
Howells stated: “I’ve always admired Delius for his flow, his continuity—a quality which
I feel to be of the utmost importance in composition.” 37 Christopher Palmer, Howells’s biographer, notes affinities with Ravel, particularly in the precision, balance and impeccable craftsmanship. 38
But of all the possible influences, the link with Vaughan Williams was undoubtedly the most important. The fact that both composers were from
Gloucestershire and that their birthdays are close (Vaughan Williams on October 12 and
Howells on October 17) strengthened a natural bond between them. As has already been mentioned, a performance in 1910 of Fantasia on a Theme by Thomas Tallis by Vaughan
Williams was identified by Howells as being one of two revelatory musical experiences of his youth.39
It was really after the First World War that our acquaintance deepened into a firm and lasting friendship. Ralph and I felt and reacted to things musically in a very similar way, and if some of our works are alike in any respect, it’s not, I think,
35 McMillan, 25. 36 Hugh Ottaway, “Herbert Howells and the English Revival,” The Musical Times 108 (1967): 899. 37 Herbert Howells, quoted in Palmer, Herbert Howells, A Study , 15. 38 Palmer, Herbert Howells, A Study , 21. 39 The first revelatory experience was a performance of Handel’s Messiah at Gloucester Cathedral in 1907, Palmer, Herbert Howells—A Centenary Celebration , 12. 24
merely a question of influence but also of intuitive affinity. We both came from the same part of a world and loved it dearly. 40
Although he was influenced by folk songs, Howells did not quote them directly or use them for melodic material. One of the basic principles of folk song is that the melodic material is constantly varied and transformed.41 This idea of thematic transformation was a key element of Howells’s technique and can be detected as early as the Third
Rhapsody .42 Howells’s melodic material reflects the influence of plainsong. The free flowing nature of chant, with its characteristic melodic contours, and the distinctive colors of the modes, can be found in the music of Howells. Howells also demonstrated a fondness for the pentatonic scale.
Many British composers of the twentieth century were influenced by the English
Musical Renaissance, a movement in which composers and others looked back to the
Medieval and Renaissance periods in an attempt to establish their roots and discover their unique musical heritage. The revival of Tudor church music and the renewed interest in folk song both had an impact on Howells. He stated:
All through my life I’ve had this strange feeling that I belong somehow to the Tudor period—not only musically but in every way. Ralph Vaughan Williams even had a theory that I was the reincarnation of one of the lesser Tudor luminaries… We were both attracted by Tudor music, plainsong and the modes— my interest in folk music was perhaps more for its modal coloring than for its human associations. We felt we needed to write in these modes and in the pentatonic scale; there was no question of our using them simply because they were novel. 43
40 Herbert Howells, quoted in Palmer, Herbert Howells, A Study , 11-12. 41 Schemanske, 111. 42 Schemanske, 111. 43 Palmer, Herbert Howells, A Study , 11-12. 25
In an obituary for Howells published in The Musical Times , Christopher Palmer identified the landscape of West England and its cathedrals as having had a profound influence on the composer. Incorporating Howells’s own comments on the matter,
Palmer stated the following:
[There are] two contrasting but complementary facets of his creative make-up— one the confluence of “two lovely but very diverse rivers—the Severn and the Wye” and the other the influence of the “three magical cathedrals” of Gloucester, Hereford, and Worcester. Throughout his life he was much affected by the beauty of the West of England country scene and by the architectural features of cathedrals and collegiate chapels. 44
These influences all played a role in shaping Howells as a composer. The music of
Vaughan Williams, the landscape of the West of England, cathedral architecture, Tudor music and plainsong clearly affected him and his music.
44 Christopher Palmer, “Obituary: Herbert Howells,” The Musical Times 124 (1983): 251. 26
CHAPTER THREE: MUSICAL LANGUAGE AND STYLE
Howells wrote in a distinctive idiom that is immediately recognizable.45 His
primary concern was to create specific moods, and this underlying quest influenced all
his compositional procedures. 46 In an interview with Katharine Eggar he stated that “what
always matters to a modern is to express a complex mood.” 47 It seems that in Hodgson’s view, Howells found it easiest to develop this mood in a single movement form in which there could be a continuous flow from beginning to end, rather than in a series of individual compartmentalized movements as found in the classical sonata principle.48
Hodgson suggests that three main moods can be detected in the music of Howells: the elegiac, the mystic (or remote), and the soberly gay.49 Hubert J. Foss in 1930 detected five main styles: the contemplative, the rhapsodic, the fanciful, the abstract, and the grander style of the larger works. 50 Howells seemed to be particularly fond of the elegiac mood and frequently incorporated it into his work. Perhaps this arose from the events of the two World Wars and the tragedy in his personal life.
Beauty of sound was a central preoccupation of Howells. He stated: “I have composed out of the sheer love of trying to make nice sounds.” 51 Erik Routley has suggested that in this, he was at odds with the avant-garde of his time, for one associated
45 Erik Routley, Twentieth Century Church Music (London: Herbert Jenkins Limited, 1964), 55. 46 Hodgson, 161. 47 Katharine E. Eggar, “Herbert Howells on Modern Composition,” The Music Teacher 16 (1923): 214, quoted in Hodgson, 161. 48 Hodgson, 163. 49 Hodgson, 167. 50 Hubert J. Foss, “Herbert Howells: A Brief Survey of his Music,” The Musical Times 71 (1930): 113. 51 Spicer, 185. 27
with the avant-garde does not view beauty as something contrived by the composer; if the result of the compositional procedure is judged beautiful, this is a bonus, but the deliberate attempt to create beauty is not the primary quest. 52 In discussing modern developments such as serialism, Howells remarked: “though I am in sympathy with the young composer of today, I cannot assimilate the new sounds for my own creative work;
I was interested in serialism from an academic point of view but not from personal conviction.” 53
Howells’s music has been described as typically English, but this is difficult to define. It is not the same as Nationalism, which is a deliberate attempt to impose certain characteristics on one’s music. This sense of “Englishness” cannot be characterized by a list of compositional techniques; it is more subtle and pervasive. It reveals Howells’s connections with the church and church music, and the influence of the Gloucester countryside. 54 His music, while romantic in nature, never gives way to lush romantic emotionalism—for two English traits are fastidiousness and reserve, and the music of
Howells embodies them both. 55
His music exemplifies the work of a technically accomplished composer who has a consummate control of harmony and texture. Howells has been described as a musical architect of great accomplishment, and an encounter with his music will reveal great attention to form and proportion. This attention does not cause him to conform to well- established compositional procedures such as sonata-allegro or passacaglia. Instead, his
52 Routley, 55. 53 Susan Regan, “Herbert Howells and His Hymns Paradisi,” Gramaphone 48 (1971): 1445-46, quoted in Schemanske, 118. 54 Schemanske, 106-107. 55 Schemanske, 108. 28
forms seem to be generated by the nature or mood of the compositions themselves. In the
numerous works bearing the title rhapsody or fantasy, his sense of form and proportion is
beyond reproach.56 It is generally agreed that Howells is most successful with his smaller works.
Howells sought absolute precision in his music and he left very specific instructions regarding tempo, dynamics, phrasing, articulation, and so forth. Despite this, his vivid imagination often caused him to revisit his works, reshaping and revising as he attempted to create the definitive version of each score. His continual revision probably resulted from his unusually sensitive musicianship rather than any artistic indecision.
Each viewing of the work doubtless presented fresh ideas that he wanted to incorporate into the creative process. 57
Cast in a modally-inflected tonality, the works exhibit a reliance on counterpoint; they utilize impressionistic techniques, such as triads with added notes producing chords of the seventh, ninth, eleventh, and thirteenth, streams of parallel chords, and avoidance of the leading tone. 58 His harmonic language is influenced by the modes, but does not attempt to adhere strictly to a modal system. Dissonant seconds (both major and minor) appear frequently, creating a “bittersweet” dissonance, and his use of the augmented eleventh produces a characteristically Howellsian sonority. 59
56 Palmer , Herbert Howells, A Study , 25. 57 Bevan, “Herbert Howells and the organ: a critical study of autograph manuscripts and printed editions of selected works for the instrument, as an indication of his compositional process” (M.Mus. dissertation, Royal College of Music, 1992/93),12. 58 Schemanske, 106-107. 59 Schemanske, 114. 29
Howells shared with Vaughan Williams a fondness for the pentatonic scale, and much of Howells’s harmony derives from a verticalization of the intervallic characteristics of both the modes and the pentatonic scale. 60 Howells’s harmonic language was influenced by the modes used in Tudor music, but most of his works lie somewhere between a mode and a key. Howell’s final cadences usually leave little doubt about the tonic, and to clarify tonal direction the composer frequently employs pedal points providing a dominant or tonic undergirding.
Howells’s melodies seemingly reflect the influence of plainsong. They are typically stepwise, center around one note, have a rhythmically free and flowing nature, incorporate the rising minor third, and make use of the modes. Favorite melodic intervals include the raised fourth and flattened seventh scale degrees, derived from the Lydian and
Mixolydian modes. Other characteristics of Howells’s compositional language will be more extensively discussed in Chapter Five in relation to the rhapsody-based organ works being considered.
60 Palmer, Herbert Howells, A Study , 20-21. 30
CHAPTER FOUR: THE OUTPUT
Howells composed a diverse body of literature encompassing music for a variety of forces. It is surprising that he produced such a large corpus given his own thoughts on composition. He stated:
Yes, I earn my bread and butter as a teacher, not as a composer; composition isn’t for me a “material necessity” in the financial sense. I can’t write for a living. I’ve never wanted to be in the public eye; in general I’ve gone out of my way to avoid publicity and the writing of potential “pot-boilers” has certainly never appealed to me in the slightest. One or two works have brought me some acclaim and have gone the rounds, but in general I’ve always written first and foremost because I wanted and needed to write; performance, publication and the rest I tend, rightly or wrongly, to leave to others. 61
Howells’s daughter Ursula provided further insight into Howells’s approach to composition by stating:
Regarding [Howells’s] compositional procedures it is difficult to find any sort of norm as he wrote as and when he had time or inclination—or should I say “inspiration.” He led such a busy life of teaching and adjudicating etc. that he never had any fixed pattern for composition. He was also inclined to write something and hide it away so that I think, in many cases he forgot he’d even written them. 62
Music for orchestra including concertos for piano and for cello, works for string ensemble, music for various chamber groups, keyboard pieces, works for choirs and solo voices, all give evidence of the composer’s broad musical interests; in contrast to the prevalent but more limited view of him as a composer of religious music.
Howells’s career as a composer can be divided into two chronological periods.
The first spans the years up to 1935 and the second includes the years from 1935 until
1977. The early period saw the creation of much of his orchestral and chamber music
61 Herbert Howells, quoted in Palmer, Herbert Howells, A Study , 14. 62 Letter from Ursula Howells to Bevan dated 13 November 1992, quoted in Bevan, 2. 31
including Piano Concerto No. 1 (1913), The B’s Suite (1914), Puck’s Minuet (1917),
Elegy for solo viola, string quartet and string orchestra (1917), and Paradise Rondel
(1925). 63 Chamber works include sonatas and other pieces for violin and piano, a variety of works for other string and wind instruments including the A Minor Piano Quartet , Op.
21 (1916); In Gloucestershire, also known as String Quartet No. 3 (1916-c1935);
Phantasy String Quartet , Op. 25 (1916-17); and Rhapsodic Quintet for clarinet and strings, Op. 31 (1919).
Howells composed some forty songs for solo voice and piano. He had an affinity for the poetry of Walter de la Mare (1873-1956), and much of his best vocal music employs the work of that poet. The song-cycles Peacock Pie (1919) and A Garland for de la Mare (1969), both settings of de la Mare texts, span fifty years of the composer’s career. 64
Choral music occupies the largest portion of Howells’s overall output. Howells is now recognized as one of the masters of choral-orchestral polyphony.65 The earliest work in which this skill appeared is Sir Patrick Spens , Op. 23 (1917), scored for baritone solo, chorus, and orchestra. Sine Nomine , Op. 37 (1922) was written for textless soprano and tenor soloists, textless chorus, large orchestra, and organ. The first public performance of a work by Howells in London featured his Missa Sine Nomine ( Mass in the Dorian Mode ). This performance was conducted by Sir Richard Runciman Terry at
63 The B’s Suite consists of 5 movements, each named after the members of a group of student friends at the Royal College of Music: I Bublum (Herbert Howells) II Bartholomew (Ivor Gurney) III Blissy (Arthur Bliss) IV Bunny (F.P. Warren) V Benjee (Arthur Benjamin). Palmer, Herbert Howells—A Centenary Celebration , 25. 64 Palmer, Herbert Howells, A Study , 40-43. 65 Palmer, Herbert Howells, A Study , 45. 32
Westminster Cathedral in November of 1912. Later choral-orchestral compositions
include Missa Sabrinensis (1954) or Severn Mass, Howells’s largest work. It is the composer’s tribute to the region in West England where he was born and grew up. The
Stabat Mater (1963) is Howells’s last large-scale choral work.
Hymnus Paradisi is generally considered to be Herbert Howells’s masterpiece. Of it,
Howells said:
The requiem I call Hymnus Paradisi , for two solo voices, chorus and orchestra, although first performed in 1950, was actually called into being much earlier. The sudden loss in 1935 of an only son, a loss essentially profound and, in its very nature, beyond argument, might naturally impel a composer, after a time, to seek release and consolation in language and terms most personal to him…For a text, I sought immemorial prose; but I used only two sentences from the Latin Requiem Mass, at the beginning and the end, knowing that one of them—“et lux perpetua luceat eis ”— would govern the work—especially that one word “lux ”, “light.”…Hymnus Paradisi was finished in 1938. For twelve years it remained what I had always wished it to be—a personal, almost secret document. But in 1950 Ralph Vaughan Williams asked to see the work, and he insisted on my releasing it; and in September 1950 I conducted the first performance at the Three Choirs Festival in Gloucester. 66
The work was originally conceived as a five-movement sequence for chorus and
two soloists on a text derived from Prudentius’s Hymnus circa exsequias defuncti . In
fact, all that remains of the text are two lines that appear at the outset of the score as a
motto: Nunc suscipe, terra, fovendum gremioque hunc concipe molli . Howells used a
translation of this text by Helen Wadell years later to compose Take Him, Earth, for
Cherishing (the “Kennedy” motet) in response to the assassination of John Fitzgerald
Kennedy in November 1963.
Howells composed a large number of smaller-scale choral works, both sacred and
secular. Of the many with sacred texts, two of the most popular are A Spotless Rose and
66 Herbert Howells quoted in Palmer, Herbert Howells, A Study , 46-47. 33
Like as the Hart . A Spotless Rose from Three Carol-Anthems, has been described by
Christopher Palmer as a “flawless achievement,” 67 and is one of his most frequently performed compositions. Like as the Hart from Four Anthems (1941) is another gem that
is performed on a regular basis.
During the last twenty five years of his life, Howells produced a large quantity of
choral works for church, and his settings of the canticles in particular are well known to
church musicians. Of his many Magnificat and Nunc dimittis settings written for specific
cathedrals and choirs, the Collegium Regale composed for King’s College, Cambridge is
probably the best known. 68
Keyboard works by Howells include compositions for piano, clavichord and
organ. He left a large number of works for the piano. The three pieces of Op. 14 written
around 1919 might be considered his most considerable work for the instrument. He also
composed a few pieces for clavichord. His Lambert’s Clavichord Op. 41 shows his
interest in the keyboard music of Tudor composers.
The organ works (Figure 3) span the composer’s compositional career and form
an important component of his overall output. Although not as numerous as his works
for piano, Howells’s organ works are considered to be of greater significance.69 Howells
often dedicated organ works to friends, who were in many cases the leading organists of
their day. The list of dedicatees reads like a who’s who of English organists and
cathedral musicians. 70 Harold Darke, Walter Alcock, Edward Bairstow, and Herbert
67 Palmer, Herbert Howells, A Study , 74. 68 Palmer, Herbert Howells, A Study , 78-79. 69 Hodgson, 119. 70 See Appendix A for a list of dedicatees with biographical information. 34
Sumsion are just a few of the many prominent musicians thus honored. In maintaining
friendships and providing distinguished literature, Howells continued throughout his life to interact with the organist/composer community with which his career began. 71
71 McMillan, 44-45. 35
Figure 3. Organ Works by Herbert Howells. 72 Title Date completed Publication Information
Sonata in C Minor c. 1911 Novello 1992 Two Short Pieces 1916 unpublished Rhapsody, Op. 17, No. 1 August 1915 Augener 1919 Rhapsody, Op. 17, No. 2 February 1918 Augener 1919 Rhapsody, Op. 17, No. 3 March 1918 Augener 1919 Psalm Prelude, Set 1, Op. 32, No. 1 1915 Novello 1921 Psalm Prelude, Set 1, Op. 32, No. 2 1916 Novello 1921 Psalm Prelude, Set 1, Op. 32, No. 3 1915 Novello 1921 Sonata No. 2 Autumn 1932 Novello 1934 Psalm Prelude, Set 2, No. 1 September 29, 1938 Novello 1940 Psalm Prelude, Set 2, No. 2 April 12, 1939 Novello 1940 Psalm Prelude, Set 2, No. 3 June 27, 1939 Novello 1940 Six Pieces for Organ Preludio ‘Sine Nomine’ 1940 Novello 1953 Saraband (for the morning of Easter) May 1940 Novello 1949 Master Tallis’s Testament 1940 Novello 1953 Fugue, Chorale & Epilogue December 16, 1939 Novello 1953 Saraband (in Modo Elegiaco) September 16, 1945 Novello 1953 Paean May 1940 Novello 1949 Siciliano for a High Ceremony December 14, 1952 Novello 1957 Prelude ‘De Profundis’ April 1958 Novello 1983 Rhapsody IV 1958 Novello 1983 Two Pieces for Organ Dalby’s Fancy November 1959 Novello 1982 Dalby’s Toccata November 1959 Novello 1982 Partita 1971/72 Novello 1972 Epilogue for Organ 1974 Banks 1982
Reconstructed/Edited Organ Works
Six Short Pieces for Organ Novello 1987 Tranquillo, ma con moto Novello 1987 Allegro scherzando Novello 1987 Aria Novello 1987 Allegro impetuoso Novello 1987 Chorale Novello 1987 Quasi lento: teneramente Novello 1987
Three Pieces for Organ Intrata No. 2 December 29, 1941 Novello 1987 Flourish for a Bidding August 29, 1969 Novello 1987 St. Louis comes to Clifton 1977 Novello 1987
72 Much of this table derives from Bevan, 13-16. The other reconstructed collections are Two Slow Airs and Miniatures . 36
The first organ work, Sonata in C Minor , Op. 1 was written in 1911. It was submitted to the Royal College of Music in 1912 in application for the Open Composition
Scholarship and received a very positive response. Both Sir Walter Parratt and Sir
Charles Stanford encouraged Howells to publish it, but he declined to do so. 73 It was finally published by Novello in 1991, eighty years after its composition. This early work shows remarkable mastery of technique for a composer so young, and it suggests the promise of much to come.
The Three Rhapsodies, Op. 17 were composed in August 1915, February 1918, and March 1918, and were the first organ works of Howells to attain publication. They achieved critical recognition and helped to establish his reputation. A. Eaglefield Hull wrote in Musical Opinion : “We shall have a really great organ composer in Howells, if he continues with such works as these [ Three Rhapsodies , Op. 17]. He understands organ tone and its management thoroughly, and he also understands composition.” 74 All three rhapsodies have a full texture, require virtuosity, and are more tonally oriented than some of the later organ works. 75 A characteristic of Howells’s organ works manifested in these pieces is an affinity with the English cathedral organ and the reverberant spaces in which it is housed.
73 Schemanske, 66. 74 A. Eaglefield Hull, “The Music of Herbert Howells,” Musical Opinion (December 1922): 201 quoted in Hodgson, 120. 75 Schemanske, 69. 37
The Three Psalm Preludes, Set 1 , Op. 32 were written in 1915 and 1916 but not published until 1932.76 All three were based on verses from selected Psalms , and in them
we can see Howells’s response to religious texts and experience the sense of sadness and
loss that pervades many of his works. This melancholy mood may be related to the
events of World War I, which clearly had a profound impact on the young composer,
evinced by Rhapsody No. 3 .77 This first set of Psalm Preludes features a thinner texture
than the Rhapsodies and a more developed sense of direction and formal shape. 78 With
these early works from the 1915-1918 period, Howells established his own personal
organ style. His fresh approach to form and texture as well as his novel concept of
writing for the organ set him apart from his teachers and contemporaries. 79
Lasting almost one-half hour, the Sonata No. 2 for organ (1932) is one of his
largest works for the instrument. It was dedicated to George Thalben-Ball, and first
performed in Royal Albert Hall on 20 March 1934 at a joint meeting of the London
Contemporary Music Centre and the Organ Music Society. 80 Cast in three movements,
the work is one of the most technically demanding of all the Howells organ compositions,
featuring a thick texture and wide stretches. 81 The theme of the first movement, which
forms the basis for the work as a whole, is tonal with modal inflections. The dissonance
76 There is confusion regarding the composition date of Psalm Prelude, Set 1, No. 1 . Correspondence and manuscript sources suggest it may have been composed as late as 1920. The matter is discussed by John Nixon Mcmillan on pp. 141-142 of his dissertation. 77 See infra , p. 21 regarding the events surrounding the composition of Rhapsody No. 3 . 78 Schemanske, 73. 79 Bevan, 5. 80 Schemanske, 89. 81 Hodgson, 123. 38
of the outer movements in particular is a new development, and not just in the output of
Howells, but in the majority of English organ music to that date. 82
The Three Psalm Preludes, Set 2 were composed in 1938 and 1939 and published in 1940. As was the case with Set 1, each of the three is based on a verse from Psalms .
While nearly all the Psalm Preludes have a minor mode flavor and evoke an introspective attitude in the listener, the third piece in this set is a bright, jubilant piece set in C major.
The contrast with the others in the series, while clearly reflective of the text, is striking.
A variety of forms is utilized in the Six Pieces published in 1949 and 1953, including toccata, fugue, and sarabande. The choice of titles such as Master Tallis’s
Testament and Saraband for the Morning of Easter, and the use of musical devices such as false relations, give evidence of Howells’s interest in Tudor music. 83 Unlike the Psalm
Preludes , these pieces are not linked to a text.
Siciliano for a High Ceremony combines characteristics of the Psalm Preludes and the Six Pieces with typical siciliano rhythms. Cast in nine-eight meter, the piece incorporates dotted figures and evokes a gentle pastoral mood. Written for the marriage of Miss Jane McNeill, it received its first performance at her wedding on 10 January
1953.
Although written in 1958, both Rhapsody IV and Prelude De Profundis were unpublished until 1982. A note that Howells included on the manuscript offers alternate titles Psalm Preludes—Third set , or Two Fantasies , suggesting he used the terms Psalm
82 Hardwick, 129. 83 Schemanske, 81. 39
Prelude, Rhapsody, and Fantasy somewhat interchangeably. 84 That these two pieces
were considered part of a third set of Psalm Preludes is suggested by appended texts, which had been used in the earlier Psalm Preludes . Rhapsody IV quotes Psalm 33, verse
3, as had Psalm Prelude, Set 2, No. 3. Prelude De Profundis has embedded in its title
reference to Psalm 130, verse 1, which formed the text basis for Psalm Prelude, Set 2,
No. 1.
The Partita of 1971 came about as a result of a promise Howells made to his
friend Edward Heath years earlier, that if Heath were to become Prime Minister, Howells
would compose a work to commemorate the event. The five movements retain Howells’s
essential harmonic language, but the texture is thinner than in previous compositions.
The thick full chords of the Rhapsodies and Six Pieces have given way to a leaner, linear
texture. 85
Other works published in the 1980s include Two Pieces for Organ ( Dalby’s
Fancy , Dalby’s Toccata ), and Epilogue for Organ . After the death of Howells many manuscripts and miscellaneous papers were deposited in 1983 at the Royal College of
Music. From these sources, four collections of music were edited by Robin Wells and published. Wells assigned the following titles: Six Short Pieces , Three Pieces , Two Slow
Airs , and Miniatures. While these volumes do contain some interesting music, the pieces
are not of the same caliber as the organ works published during the composer’s lifetime.
84 McMillan, 319. 85 Schemanske, 98. 40
Peter Hodgson sums up the organ works by saying:
The organ music of Howells is representative of much of his complex aesthetic outlook: the rhapsodic, the lyrical, the elegiac, the brilliant, the ceremonial. His relatively small, but significantly distinctive, organ literature has been described as “contemporary English organ music at its conservative best,” a succinct summation of this composer’s contribution. 86
86 Hodgson, 127, incorporating quotation by Luther Noss, “Organ Music ,” Music Library Association Notes 7 (1954): 153. 41
CHAPTER FIVE: COMPARISON OF RHAPSODY-BASED WORKS BOTH WITH AND WITHOUT TEXT ASSOCIATION
Herbert Howells created his unique sound through the deft manipulation of various compositional techniques. An examination of the rhapsodic works both with and without text associations reveals that the fundamental characteristics of his style remain consistent throughout. By looking in turn at various trademark techniques we will find them used in essentially the same way, regardless of whether or not there is a connection to a text. Many examples could be found to illustrate this point, but this study will limit the examination to one representative sample from a work with a text association, followed by one without text association.
Arch Form
Howells utilized arch forms in many of his rhapsody-based organ works, possibly to establish a particular mood and then reinforce that mood with the arch form’s framing structure. Typically such works begin quietly, build to a powerful climax near the latter half of the piece, and then draw to a quiet close, often fading to virtually nothing in the final measures. 87 This device—a favorite of Howells—often also features a thickening of texture and an increase in tempo as the piece builds to its climax. Sometimes the pattern is reversed so that the piece begins and ends powerfully, and becomes quieter in the central section. We begin the analysis with the arch form applied to dynamics.
87 Schemanske, 110. 42
Dynamics
In Psalm Prelude, Set 2, No. 1 a mp level is indicated at the outset. The piece
builds with subtle dynamic shifts towards the climactic fff at m. 65. The dynamic
intensity gradually subsides as the piece works towards its conclusion, where it closes
quietly at the ppp level. Figure 4 shows this graphically.
Figure 4. Dynamic Levels Indicated in Psalm Prelude, Set 2, No. 1
Psalm Prelude Set 2 No. 1
1 7 13 19 25 31 37 43 49 55 61 67 73 79 85 91 Measure Number
Howells employs a similar dynamic contour in Rhapsody No. 1, which begins pp .
Several increases in dynamic level lead to a climax at m. 40 with the dynamic indication
of fff . Four measures later the composer begins a reduction in dynamic level that
quickly leads to a pp at m. 50. The piece continues quietly to the end, where ppp is its final dynamic level. Figure 5 shows this dynamic shape graphically. 43
Figure 5. Dynamic Levels Indicated in Rhapsody No. 1
Rhapsody No. 1
1 5 9 13 17 21 25 29 33 37 41 45 49 53 57 61 65 69 Measure Number
Tempo
In a comparable fashion, Howells characteristically employs a tempo arch in
which momentum is gained moving towards the central climax, followed by a gradual
reduction in tempo. For example, in Psalm Prelude, Set 2, No.1 the opening tempo
indication of Lento, dolente (slow, plaintive) is followed by five tempo increases as momentum is gained. Two measures before the high point of the piece is reached,
Howells suggests an allargando molto (growing much broader) leading back to the original tempo. Three tempo reductions ensue, leading to the last three measures of the piece, which are marked molto lento (very slow).
Howells uses a similar procedure in Fugue, Chorale and Epilogue , in which the opening tempo indication is Quasi lento, serioso ed espressivo (almost slow, serious and expressive). Two tempo accelerations follow. A brief allargando (broadening) slows things down just before the high point is reached, where Largamente (broadly) is indicated. A subsequent marking of mezza movimento (half movement) leads to the final 44
section marked tranquillo, mesto ma dolce (tranquil, sad but sweet). A further tempo reduction ushers in the final five measures marked lento assai (very slow).
Texture
The arch shape that governed dynamics and tempo also applies to texture.
Typically, the pieces begin with a thin texture that gradually thickens towards the climax, and then thins as the piece subsides. To accomplish this, Howells adds parts to the texture as the piece progresses.
Psalm Prelude, Set 2, No. 1 begins in five parts (Example 5-1).
Example 5-1. Psalm Prelude, Set 2, No. 1, m. 188
The texture expands to seven parts at the high point of the piece (Example 5-2).
88 Herbert Howells, Three Psalm Preludes for Organ, Set Two (Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1940), 1. 45
Example 5-2. Psalm Prelude, Set 2, No. 1, m. 64 89
By the conclusion of the piece we still have seven parts, but the reduced registration
yields a far thinner texture (Example 5-3).
Example 5-3. Psalm Prelude, Set 2, No. 1, m. 96 90
Turning to Fugue, Chorale and Epilogue , we can find similar thickening of the texture as the central section is reached. At the outset we have the single voice statement of the fugue subject (Example 5-4).
89 Howells, Three Psalm Preludes for Organ, Set Two , 5. 90 Howells, Three Psalm Preludes for Organ, Set Two , 7. 46
Example 5-4. Fugue, Chorale and Epilogue , mm. 1-291
By m. 63, the climax of the piece, the texture has thickened to eight voices (Example 5-
5).
Example 5-5. Fugue, Chorale and Epilogue , mm. 63-64 92
The texture thins as the momentum subsides and the final measures utilize five voices
(Example 5-6).
91 Herbert Howells, Six Pieces for Organ (Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1953), 17. 92 Howells, Six Pieces for Organ , 22. 47
Example 5-6. Fugue, Chorale and Epilogue , mm. 133-134 93
The use of dynamic, tempo, and texture arches occurs throughout the rhapsody-
based organ works of Howells. While the examples we have looked at have featured a gradual building towards the central section before subsiding, the pattern may sometimes be reversed.
Counterpoint
In comparing himself to Delius, in an interview with Christopher Palmer, Howells noted that whereas “he thinks in terms of blocks of sound, I think polyphonically, in lines.” 94 Howells’s affinity is more with Palestrina than Bach, however, and this can be seen in his quest to have the parts move correctly relative to the bass, but with considerable freedom in regard to each other. 95 Howells developed his own unique
approach to counterpoint in which the imitations are not strict, and the interplay of lines
often unfolds in unpredictable ways.
93 Howells , Six Pieces for Organ , 25. 94 Palmer, Herbert Howells, A Study , 16. 95 Edwin Evans, “Modern British Composers. VIII. Herbert Howells.” The Musical Times 61 (1920): 90. 48
Example 5-7 taken from Psalm Prelude, Set 2, No. 3, shows Howells’s use of imitative counterpoint. The initial statement of the theme at the outset in the left hand is closely, but not strictly, imitated in the right hand part.
Example 5-7. Psalm Prelude, Set 2, No. 3, mm.76-83 96
Example 5-8 drawn from Fugue, Chorale and Epilogue , demonstrates Howells’s use of fugal counterpoint. This time we have a fugal exposition commencing with a statement of the subject in the tenor voice, followed by its answer in the alto, and another statement of the subject in the soprano. These examples illustrate Howells’s mastery of imitative counterpoint, but he frequently utilizes a freer approach that is less reliant on imitation.
96 Howells, Three Psalm Preludes for Organ Set Two, 18. 49
Example 5-8. Fugue, Chorale and Epilogue , mm. 1-897
Harmonic Language
It is Howells’s harmonic language that identifies him most readily. 98 His music shows the influences of Gregorian chant and the pentatonic scale. It tends to lie somewhere between a mode and a key, which may be more aptly identified by a tonal center rather than a key. Howells often clarifies his harmonic direction by the use of pedal points. 99 Aspects of his harmonic language include the use of distinctive color chords, cross relations, enharmonic change, and third relations.
Signature Chord
Howells’s harmonic language is tertian, and he makes use of chords of the seventh, ninth, and eleventh. A particular favorite, perhaps even his signature chord, is
97 Howells, Six Pieces for Organ , 17. 98 Schemanske, 114. 99 McMillan, 100-101. 50
the augmented eleventh formed by adding an augmented eleventh interval to a dominant ninth chord. Example 5-9 comes from Psalm Prelude, Set 2, No. 1, where we find an
augmented eleventh chord in m. 68 near the central climax of the work.
Example 5-9. Psalm Prelude, Set 2, No. 1, mm. 68-69 100
We also find an augmented eleventh chord shown in Example 5-10, which is drawn from
the second movement of Sonata No. 2.
100 Howells, Three Psalm Preludes for Organ Set Two, 6. 51
Example 5-10. Sonata No. 2 Movement II mm. 31-32 101
Cross Relations
A characteristic of Tudor music that appears frequently in the organ works of
Howells is the cross relation, which results when a chromatically altered form of a note
appears in close proximity to the diatonic form of the same note in another part. 102
Howells often also employs simultaneous cross relations in which the two forms of the note appear at the same time, to create dissonance. 103 Example 5-11 is taken from Psalm
Prelude, Set 2, No. 3. The A-sharp in the left hand part of the first chord forms a
simultaneous cross relation with the A-natural in the right hand part of the same chord.
101 Herbert Howells, Sonata for Organ (Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1934), 18. 102 Schemanske, 28. 103 McMillan, 104. 52
Example 5-11. Psalm Prelude, Set 2, No. 3, mm. 6-7104
We also find an example in Rhapsody No. 2 (Example 5-12) where on the first beat of the
measure, the E-naturals played by the hands form a simultaneous cross relation with the
E-flat played by the pedal.
Example 5-12. Rhapsody No. 2, m. 94 105
© Stainer & Bell Ltd. Reprinted with permission.
Enharmonic Change
Another trademark technique of Howells is the use of enharmonic change or spelling in which pitches are given different tonal meanings and functions based on their context. 106 In Example 5-13, from Psalm Prelude, Set 2, No. 3, the A-sharp in the pedal on
104 Howells, Three Psalm Preludes for Organ, Set Two , 14. 105 Howells, Three Rhapsodies for Organ (Boston: Galaxy Music Corporation, 1986), 14. 106 Schemanske, 116. 53
the second half of beat two is enharmonically spelled as B-flat in the next measure to accommodate its new tonal context.
Example 5-13. Psalm Prelude, Set 2, No. 3, mm. 118-119 107
In Example 5-14, taken from Rhapsody No. 2, the pedal line is an ostinato alternating between E-flat and D-natural. Those two pitches are respelled as D-sharp and C-double sharp in the last two notes of the example.
107 Howells, Three Psalm Preludes for Organ, Set Two , 21. 54
Example 5-14. Rhapsody No. 2, mm. 65-66 108
© Stainer & Bell Ltd. Reprinted with permission.
Third Relations
Howells frequently employs third relations in his harmonic shifts throughout the organ works, a trait he shares with Vaughan Williams. 109 In an example taken from
Psalm Prelude, Set 2, No. 1 (Example 5-15), we find a first inversion C major chord on the downbeat of the first measure, with an E-flat major chord in first inversion on the downbeat of the second measure; a distance of a minor third.
Example 5-15. Psalm Prelude, Set 2, No. 1, mm. 82-84 110
108 Howells , Three Rhapsodies for Organ, 12. 109 Schemanske, 116. 110 Howells, Three Psalm Preludes for Organ, Set Two , 7. 55
Turning to Rhapsody No. 3 (Example 5-16), we find an E major chord at the very outset of the piece. In the first complete measure on the second half of beat three, we find a C major chord; a major third away.
Example 5-16. Rhapsody No. 3 , m. 1111
© Stainer & Bell Ltd. Reprinted with permission.
Howells’s harmonic language as expressed in his signature chord, and use of cross relations, enharmonic change, and third relations, remains consistent throughout his rhapsody-based works, in pieces both with and without text associations.
Melodic Style
Howells frequently rhapsodizes on a single theme, and the unfolding of the form is determined by the melodic ideas and the moods. The melodies emerge naturally, as
Howells is always thinking in terms of line. His melodies often show the influence of plainsong, the church modes, and the pentatonic scale. Howells’s preferred intervals
111 Howells, Three Rhapsodies for Organ , 20. 56
include the raised fourth of the Lydian mode and the flatted seventh of the Mixolydian
mode. 112
Another typical feature of Howells’s melodies is their arch shape. This can be found in Psalm Prelude, Set 2, No. 1 (Example 5-17).
Example 5-17. Psalm Prelude, Set 2, No. 1, mm. 27-28113
A similar melodic contour can be seen in Sonata No. 2 Movement II (Example 5-18)
Example 5-18. Sonata No. 2, Movement II, mm. 1-2114
112 Schemanske, 111-112. 113 Howells, Three Psalm Preludes for Organ, Set Two , 3. 114 Howells, Sonata for Organ , 17. 57
Signature Motives
Howells’s music is generated from motives that are typically short and that reveal
the composer’s fondness for certain rhythmic or intervallic constructions. For instance,
the sixteenth-note upbeat to a rising figure is a favorite, often appearing in the pedal line.
Example 5-19 shows this motive in Psalm Prelude, Set 2, No. 3.
Example 5-19. Psalm Prelude, Set 2, No. 3, m 139 115
A similar motive can be found in Rhapsody No. 3 (Example 5-20).
Example 5-20. Rhapsody No. 3, m 80 116
© Stainer & Bell Ltd. Reprinted with permission.
Another motive that Howells employs features the rhythm shown at Example 5-21.
Example 5-21. A rhythmic motive used by Howells
115 Howells, Three Psalm Preludes for Organ, Set Two , 22. 116 Howells, Three Rhapsodies for Organ , 23. 58
Compare the right hand part in Example 5-22 from Psalm Prelude, Set 2, No. 3 to the
pedal line in Example 5-23 from Fugue, Chorale and Epilogue . Not only is the rhythm identical, but the melodic contour is very similar.
Example 5-22. Psalm Prelude, Set 2, No. 3, m. 95 117
Example 5-23. Fugue, Chorale and Epilogue , mm. 13-14 118
These and other motivic patterns appear frequently in the rhapsody-based works of
Howells. 119
117 Howells, Three Psalm Preludes for Organ, Set Two , 19. 118 Howells, Six Pieces for Organ , 18. 59
Thematic Transformation
Herbert Howells builds his pieces from initial thematic material, material that he
consistently reshapes and transforms as the works unfold. For instance, Example 5-24
shows a theme from Psalm Prelude, Set 2, No. 1.
Example 5-24. Psalm Prelude, Set 2, No. 1, mm. 20-22 120
When the theme returns later in the piece (Example 5-25) it has been transformed in a number of ways. Subtle harmonic shifts have occurred, including the introduction of A- sharps. Howells expands this appearance of the theme by adding two measures. The passage ends with a turn in a different harmonic direction.
Example 5-25. Psalm Prelude, Set 2, No. 1, mm. 76-80 121
We discover comparable use of thematic transformation in Fugue, Chorale and
Epilogue . In Example 5-26 we find the initial statement of the theme as presented at the
beginning of the piece.
119 Howells seems to have had a number of favorite motives with distinctive rhythmic and/or pitch content. Other examples include a note tied to the first of a group of four sixteenth-notes and a syncopated figure . 120 Howells, Three Psalm Preludes for Organ, Set Two , 2. 121 Howells, Three Psalm Preludes for Organ, Set Two , 6-7. 60
Example 5-26. Fugue, Chorale and Epilogue , mm. 1-4122
A subsequent statement of the theme (Example 5-27) shows rhythm and pitch alterations.
For example, the rhythmic durations of the third and fourth pitches have been augmented from dotted eighth and sixteenth notes to dotted quarter and eighth notes. The rest of the theme retains its basic shape and some of the intervallic content, but the exact pitches and rhythms have been altered.
Example 5-27. Fugue, Chorale and Epilogue , mm. 86-90 123
Similar examples of thematic transformation permeate the organ works of Howells based on rhapsody procedure.
Rhythm and Meter
One of Howells’s style characteristics is the use of shifting meters. The rhythmic flexibility thus achieved suggests the influence of folksong and plainsong. 124 John Wells
contends that it is the phrases in Howells’s music that are determining the meter, and not
122 Howells, Six Pieces for Organ , 17. 123 Howells, Six Pieces for Organ , 23. 124 Schemanske, 113. 61
the other way around. 125 He states that “it is the shape of the phrase that is the organizing
factor behind the music, and the bar lines are more or less a matter of convenience.” 126
The driving rhythmic unit is the pulse, and Howells tends not to organize the pulses into
groups of two, three or four, etc. Instead, he typically treats each pulse with an equal
stress, in a manner not unlike that often found in Baroque music. Sometimes at the end
of one phrase and the beginning of another a number of beats may be “left over” and
Howells will look after this by inserting a measure in a different meter.127
In general, the later works show a greater tendency toward frequent meter
changes, but the use of metric alterations occurs consistently, regardless of whether or not
the pieces have a text association. Figure 6 shows the number of meter changes in the
rhapsody-based works with text association, while Figure 7 illustrates the number of
meter changes in the rhapsody-based works without text association. It is easy to see that
works in both categories from the 1930s on employed significantly more meter changes.
125 John Wells, “Twentieth-Century English Organ Music” (D.Mus. dissertation, Indiana University, 1978), 100. 126 Wells, 100. 127 Wells, 100. 62
Figure 6. Number of Metric Changes in Rhapsody-Based Works with Text Association
Works With Text Association
50 45 40 35 30 25 20 15 10
Number of Meter Changes Meter of Number 5 0 Psalm Psalm Psalm Psalm Psalm Psalm Rhapsody Prelude Prelude Prelude Prelude Prelude Prelude Prelude IV (1958) De Set 1 No. Set 1 No. Set 1 No. Set 2 No. Set 2 No. Set 2 No. Profundis 1 (1915) 2 (1916) 3 (1915) 1 (1938) 2 (1939) 3 (1939) (1958)
Figure 7. Number of Metric Changes in Rhapsody-Based Works without Text Association
Works Without Text Association
35 30 25 20 15
Changes 10 5 Number of Meter of Number 0 Rhapsody No. Rhapsody No. Rhapsody No. Sonata No. 2 Fugue, 1 (1915) 2 (1918) 3 (1918) Movement II Chorale and (1932) Epilogue (1939)
It is interesting to note that the works with the fewest and the most metric changes both
have text associations. Psalm Prelude, Set 1, No. 3 has only the initial time signature and
no further changes are made, while Psalm Prelude, Set 2, No. 1 employs forty-eight time 63
signature changes. A possible explanation for this significant difference in the number of time signatures will be explored in the next chapter when we look at the relationship of the texts to the expressive effects of the music.
This examination of compositional techniques employed by Howells in the rhapsody-based organ works with and without text associations has revealed that the salient style features remain consistent throughout. Howells’s use of arch form, signature motives, thematic transformation; his approach to counterpoint, rhythm and meter; his harmonic language, and his melodic style are similar throughout this body of literature.
This might suggest that the texts are not the only elements of importance in the composition of these works. Evidence suggesting that in at least one case Howells changed the text of one of the Psalm Preludes before publication substantiates this notion. 128 However, the texts, where present, provide clues that can be used by the performer in the interpretation of the works. The next chapter will explore possible links between the texts and the expressive effects of the musical gestures.
128 Bevan, 76. 64
CHAPTER SIX: EXAMINATION OF TEXTS AND THEIR RELATIONSHIP TO THE EXPRESSIVE EFFECT OF THE MUSIC
For eight of the thirteen rhapsody-based works being considered in this study,
Howells provided a text association. Because he did not specify the connection between the text and the music, there is room for more than one interpretation. What follows is one possible reading of the links between the texts and the expressive effect of the musical gestures.
Psalm Prelude, Set 1, No. 1
The text given for Psalm Prelude, Set 1, No. 1 is Psalm 34, verse 6: “This poor
man cried and the Lord heard him, and saved him out of all his trouble.” The somber
mood of the text is immediately reflected in the composer’s initial tempo indication of
Lento, poco appenato (slow and sorrowful). The entire piece is built from a theme stated
at the beginning (Example 6-1). The predominantly stepwise theme features the interval
of a falling second and a syncopated figure, both of which contribute a sense of pleading,
perhaps even sobbing.
Example 6-1. Psalm Prelude, Set 1, No. 1, mm. 1-5129
Following this initial statement the cry is repeated a third higher at a louder dynamic
level. It is as though the pleas are becoming more insistent, a trend that continues
through to the climax of the piece. As the cries become more adamant, the music
129 Howells, Three Psalm Preludes for Organ, Set One (Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1921), 2. 65
becomes more agitated, moving through E major towards C major and the introduction of a new theme at m. 16, a rising figure that consists of upward leaps (Example 6-2).
Perhaps representing the text “and the Lord heard him,” 130 this diatonic statement at mm.
16-17 in C major provides a contrast to what has preceded it, and seems to establish a
dialogue between the poor man and the Lord.
Example 6-2. Psalm Prelude, Set 1, No. 1, mm. 16-17 131
The exchange continues with increasing intensity as both tempo and dynamic
levels increase. The musical materials are subjected to constant transformation, including
augmentation of the main crying theme at m. 34, suggesting a more insistent iteration of
the cries. At the climactic point that occurs at mm. 47-58, the dynamic level increases to fff and the main pleading theme appears in octaves, again in augmentation, as the poor
man is uttering his most desperate cry (Example 6-3). Still in augmentation, but moving
to a lower register, the cry is restated, but the desperation begins to subside as we reach
m. 72, and Howells indicates a poco a poco diminuendo e ritardando . It is as though the
poor man is beginning to recognize and accept that he has been saved from his trouble.
130 Hardwick, 124. 131 Howells, Three Psalm Preludes for Organ, Set One , 3. 66
At m. 76, the first notes of the second theme are presented in augmentation before a full
statement of the theme in original note values, the final divine reassurance of salvation.
Example 6-3. Psalm Prelude, Set 1, No. 1, mm. 47-58 132
At m. 85 the poor man issues his final utterance of the theme, this time with a more static accompaniment, incorporating some particularly rich Howellsian harmonies.
A calm atmosphere of reconciliation has been established. Pitches 5-10 of the opening theme are used to draw the piece to a close, and a D major chord marked ppp portrays the peaceful acceptance of salvation (Example 6-4).
132 Howells, Three Psalm Preludes for Organ, Set One , 5 67
Example 6-4. Psalm Prelude, Set 1, No. 1, mm. 93-96 133
Psalm Prelude, Set 1, No. 2
The text associated with Psalm Prelude, Set 1, No. 2 is Psalm 37, verse 11: “But the meek shall inherit the earth; and shall delight themselves in the abundance of peace.”
Howells establishes a peaceful atmosphere at the outset through the use of diatonic E-flat major, a pp dynamic level, and use of a high register (Example 6-5).
Example 6-5. Psalm Prelude, Set 1, No. 2, mm. 1-4134
133 Howells, Three Psalm Preludes for Organ, Set One , 7. 134 Howells, Three Psalm Preludes for Organ, Set One , 8. 68
This opening theme provides most of the material from which the rest of the piece is
constructed. Its meek and placid character is derived from the use of predominantly
stepwise motion, a lower neighbor figure, and well-placed downward leaps of fourths and
thirds. Meekness and abundance of peace are depicted throughout the piece. The arch
shapes governing tempo, dynamics, and texture are present, but at a muted level. For
example, the dynamic level rarely rises above a mp level and while the climax of the piece achieves f for two measures, it is tempered with a ma dolce suggestion. At m. 43
when the tempo is increased with an un poco più mosso indication, the left hand part
introduces the most agitated figure to be found in this piece as an accompaniment to the
main theme (Example 6-6). Comprised of gently undulating thirds, it hardly seems
ominous, however, and the peaceful tone of the work is allowed to prevail.
Example 6-6. Psalm Prelude, Set 1, No. 2, mm. 42-47 135
135 Howells, Three Psalm Preludes for Organ, Set One , 10. 69
The piece is more diatonic than is typical for Howells, and while there are digressions into other keys, a large portion of the piece is presented in the key of E-flat major. The diatonicism, plus the significant use of pedal points such as are found at mm.
16-24 and again at mm. 61-66, reinforces the tranquil character of this Psalm Prelude.
Psalm Prelude, Set 1, No. 3
Psalm Prelude, Set 1, No. 3 is linked with the text Psalm 23, verse 4: “Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff they comfort me.” The key signature of three flats and the prominence of the pitch C suggest the key of C minor, a key traditionally associated with sorrow. The slow tempo, low register, and thin texture all contribute to a feeling of bleakness. The repeated-note ostinato that pervades much of the piece introduces an ominous tone—a relentless march through the valley of the shadow of death (Example 6-
7). This is the only Psalm Prelude written entirely in one time signature, reinforcing the inexorable nature of the march. 70
Example 6-7. Psalm Prelude, Set 1, No. 3, mm. 1-11 136
The syncopated figure introduced against this backdrop in m. 2 features a descending minor second, perhaps representing a sigh of anguish. The pedal entrance at m. 8 supplies a falling figure and chromaticism, both adding to the sense of gloom.
The piece gradually builds in intensity, with an ever-thickening texture, an increase in dynamic level, and an increase in tempo. These all contribute to a sense of optimism suggested by the text “I will fear no evil.” The climax arrives at m. 44
(Example 6-8) where the dynamic level reaches fff .
136 Herbert Howells, Three Psalm Preludes for Organ, Set One , 13. 71
Example 6-8. Psalm Prelude, Set 1, No. 3, mm. 44-49 137
The descending chromatic line introduced in m. 8 now reappears, this time in the manuals as well as the pedal. The optimistic strength of the C major chord played at the extremes of the instrument is able to counteract its presence, representing the text: “for thou art with me.”
The intensity subsides as the piece gradually returns to the initial tempo and ppp dynamic range. In the final measures of the piece the syncopated figure introduced by the right hand in m. 2 becomes reconciled with the repeated-note ostinato (Example 6-9), and the gentle finish on a C major chord appears to portray the text “thy rod and thy staff they comfort me.” The continued presence of the ostinato through to the end suggests that the walk through the valley of the shadow of death has not been avoided. The
137 Howells, Three Psalm Preludes for Organ, Set One , 16. 72
peaceful calm surrounding it at the end, however, indicates that perhaps the journey has
been made bearable by presence of the Shepherd.
Example 6-9. Psalm Prelude, Set 1, No. 3, mm. 74-77 138
Psalm Prelude, Set 2, No. 1
The text for Psalm Prelude, Set 2, No. 1 is Psalm 130 verse 1: “Out of the Depths
have I cried unto Thee, O Lord.” One of the striking features of the opening of this piece
is the use of the extremes of the keyboard. The hands crawl towards each other in a
serpentine fashion employing chromaticism and syncopation along the way (Example 6-
10). This seems to be a depiction of the furthest reaches—the depths. Howells uses
frequent meter changes, but five-eight meter predominates. There are in fact forty-eight
time signature indications in the work, more than in any other of the thirteen pieces being
considered in this study. The use of relentlessly shifting meters is consistent with the
unsettled or troubled nature of this piece.
138 Howells, Three Psalm Preludes for Organ, Set One , 18. 73
Example 6-10. Psalm Prelude, Set 2, No. 1, mm. 1-2139
A sense of anguish is suggested in the use of minor second clashes and accented simultaneous cross relations such as we find in the first few chords. The crying theme, presented at the outset, is reiterated in different guises. The key of G-sharp minor is suggested as a new variant of the theme emerges. It is as is though the pleas have changed to expand the expression of grief. This manifestation of misery coincides with an increase in dynamic level and an acceleration, both of which continue unabated until an allargando leads to the climax, when the cries reach their most impassioned level
(Example 6-11).
139 Howells, Three Psalm Preludes for Organ, Set Two , 1. 74
Example 6-11. Psalm Prelude, Set 2, No. 1, mm. 64-66 140
Once the pinnacle of anguished expression has been reached, the intensity begins to subside, with a reduction in dynamic level. A further decrease in dynamic level and an instruction from the composer for a more and more tranquil tempo suggest that a calming assurance is beginning to take hold. The prevailing minor mode flavor gives way as the final statement of the main theme is presented in the key of D major, providing a sense of optimism that the cries have been heard and will be answered. A tonic pedal point secures the whole passage, lending an air of strength and promise. The last three measures of the piece (Example 6-12) employ the same key, progression, and mood as the ending of the “I Heard a Voice” movement of Hymnus Paradisi (Example 6-13).141
140 Howells, Three Psalm Prelude for Organ, Set Two , 5. 141 Palmer, Herbert Howells, A Study , 64. 75
Example 6-12. Psalm Prelude, Set 2, No. 1, mm. 94-96 142
Example 6-13. Hymnus Paradisi V, “I Heard a Voice from Heaven,” mm. 60-64 143
142 Howells, Three Psalm Preludes For Organ, Set Two , 7. 143 Herbert Howells, Hymnus Paradisi (Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1950), 74. 76
The text “they rest from their labors” is sung during those closing measures. It is surely
more than coincidence that this Psalm Prelude , which was written in 1938, the same year as Hymnus Paradisi , bears this distinct musical link to the choral work. The pain felt by the grief-stricken father over the loss of his son, so poignantly addressed in Hymnus
Paradisi , is also given expression in this organ work. The completion date of 29
September 1938, indicated in the score, is striking. 29 September is the Name Day for
Michael. 144
Psalm Prelude, Set 2, No. 2
It is probably more than coincidence that Howells completed the middle Psalm
Prelude of the second set on 4 April 1939, the day Michael would have celebrated his
thirteenth birthday. The associated text is Psalm 39, verse 11: “Yea, the darkness is no
darkness with Thee, but the night is as clear as the day: the darkness and light to Thee are
both alike.”145 The text introduces two contrasting ideas; darkness and light, which while
opposite are somehow alike. The musical parallels exist on different levels. At the
beginning of the piece, the jagged and angular theme presented in the left hand could be
interpreted as a representation of darkness (Example 6-14).
144 McMillan, 234. 145 Although labeled as verse 11, the text printed in the score appears to be verse 12. The translation is unknown. The King James Version of verse 12 is “Yea, the darkness hideth not from thee; but the night shineth as the day: the darkness and the light are both alike to thee. 77
Example 6-14. Psalm Prelude, Set 2, No. 2 , mm. 1-6146
A contrasting theme featuring stepwise ascending motion that first appears in m.
22 could represent light (Example 6-15). The optimistic upward sweep appears in parallel sixths in the right hand, while the left hand provides the same material in augmentation. The themes are combined at m. 58: a musical depiction of darkness and light being both alike (Example 6-16). The two musical themes are presented separately and then in combination: darkness and light reconciled.
146 Howells, Three Psalm Preludes For Organ, Set Two , 8. 78
Example 6-15. Psalm Prelude, Set 2, No. 2, mm. 22-24 147
Example 6-16. Psalm Prelude, Set 2, No. 2, mm. 58-59 148
Another musical phenomenon that depicts the idea of darkness and light being alike, is the D-sharp major chord at m. 30 (Example 6-17) being enharmonically respelled as E-flat major at m. 32 (Example 6-18). These two measures will sound alike to the listener, but on the page, they look different and have different theoretical implications.
147 Howells, Three Psalm Preludes for Organ, Set Two , 9. 148 Howells, Three Psalm Preludes for Organ, Set Two , 11. 79
Example 6-17. Psalm Prelude, Set 2, No. 2, m. 30 149
Example 6-18. Psalm Prelude, Set 2, No. 2, m. 32 150
There is also the contrast between F-sharp minor, the prevailing key of the piece, and F-sharp major, the key firmly established by Howells for the final thirteen measures of the piece. The key of F-sharp major is used for the final section of the Sanctus movement of Hymnus Paradisi , a work in which lux or light is a central theme. The text in the choral work is from Psalm 121: “The Lord shall preserve thee from all evil. Yea it is even He that shall keep thy soul. The Lord shall preserve thy going out and thy coming in: from this time forth for evermore.” The parallels between these two works seem too obvious to ignore. In both pieces, light—lux —prevails in the end, with the
149 Howells, Three Psalm Preludes for Organ, Set Two , 10. 150 Howells, Three Psalm Preludes for Organ, Set Two , 10. 80
establishment of a calm and peaceful atmosphere, but only after many difficulties have
been overcome.
Psalm Prelude, Set 2, No. 3
If indeed this set of Psalm Preludes represents a father expressing and working
through his grief, the final piece in the set surely reveals a triumph over sadness and
despair. The text from Psalm 33 verse 3: “Sing unto Him a new song: play skillfully with
a loud noise” comes as a sharp contrast to the introspective and even doleful tone of the
other selected verses from the set. There are marked musical contrasts as well. The arch
forms that characterize these pieces are present but the pattern is reversed, with a ff
dynamic level and tempo of allegro at the beginning. The opening section is followed by a quieter and slower central section that then gives way to a return of the opening bold materials and a general acceleration of tempo as the piece moves to its conclusion. The pattern differs from that of the earlier Psalm Preludes, all of which feature a slow and quiet opening that builds in intensity to a central climax before subsiding.
This bold and exuberant opening in C major (Example 6-19) conveys the central theme of the text—praise—which has an inherent nature of joy. The text also presents the idea of a new song, which this piece certainly is, when viewed in relation to its predecessors. 81
Example 6-19. Psalm Prelude, Set 2, No. 3, mm. 1-3151
The concept of new song could also be reflected at m. 135, when the opening musical materials return in D major, a new and even brighter key than C major. The “play skillfully” aspect of the text is given musical expression by the writing, which is more virtuosic than that of any of the previous Psalm Preludes. Sixteenth-note and thirty- second-note passages, coupled with the noticeably faster tempo, are among the increased technical demands made of the player.
Very striking is the use of the solo tuba at m. 51 (Example 6-20), and its return near the end of the piece. Howells rarely specifies registration, the tuba being an exception. This is the only occasion in the Psalm Preludes where Howells specifically asks for this color. When the solo tuba makes its appearance, it would seem to represent the text “play skillfully with a loud noise.”
151 Howells, Three Psalm Preludes for Organ, Set Two , 14. 82
Example 6-20. Psalm Prelude, Set 2, No. 3, mm. 51-55 152
Rhapsody IV
Rhapsody IV bears the subtitle Bene psallite in vociferatione (sing skillfully with a
strong voice).153 This is a reference to Psalm 33, verse 3, which had been used as the text
for Psalm Prelude, Set 2, No. 3. In addition to sharing a text, both works share musical similarities. Both pieces are in C major, both have a time signature of three-four, and both begin at the allegro tempo with a ff dynamic marking. The solo tuba that appeared
for the first time in a text-associated rhapsody-based work in Psalm Prelude, Set 2, No. 3
reappears, this time at the opening of the piece (Example 6-21).
152 Howells, Three Psalm Preludes for Organ, Set Two , 17. 153 The King James Version translates this passage as “play skillfully with a loud noise.” 83
Example 6-21. Rhapsody IV , mm. 1-5154
The arch shapes governing dynamics, tempo, and texture are present but as in
Psalm Prelude, Set 2, No. 3, the work opens and closes in a grand manner, with a
reduction of intensity for the central section. Psalm Prelude, Set 2, No. 3 featured the
raised fourth and lowered seventh, reflecting modal influence, and the same holds true in
Rhapsody IV . The opening figure (Example 6-22) with its descending fourth interval—a
variation on one of Howell’s signature motives discussed earlier—figures prominently,
although treated to frequent transformation.
Example 6-22. Rhapsody IV , m. 1155
The harmonic language is more dissonant than that of Psalm Prelude, Set 2, No.
3, but it still produces the distinctive Howells sound. As with the Psalm Prelude setting,
the text suggests a joyful, exuberant utterance, which is given musical expression through
the use of a fast tempo, a ff dynamic marking, and the use of the “loud”–voiced tuba at
154 Herbert Howells, Rhapsody IV and Prelude De Profundis (Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1983), 1. 155 Herbert Howells, Rhapsody IV and Prelude De Profundis , 1. 84
the very beginning. The piece exudes energy, with its pervasive dotted rhythms drawn from the main motive. The use of stepwise scalar passages in the opening theme lends itself to a faster tempo and a more virtuosic interpretation than the disjunct motives of the pieces with more introspective texts. The fast tempo and the active pedal lines found in mm. 59-73 and mm. 133-142 (Example 6-23) mirror the text “play skillfully.”
Example 6-23. Pedal Part, Rhapsody IV , mm. 133-142 156
Christopher Palmer makes the observation that this piece marks the beginning of a new simplicity of style for Howells. Palmer draws a connection between the expression of a new song and the less labyrinthine polyphony, the leaner-drawn lines, and the more sinewy harmonic texture. 157
Prelude De Profundis
Prelude De Profundis references the text Psalm 130, verse 1: “out of the depths have I called unto Thee O Lord,” the same text associated with Psalm Prelude, Set 2, No.
1. The composer’s intent to establish a sad or mournful mood is apparent in the tempo marking Quasi lento, tristamente . The motion in both manuals and pedals is predominantly downward, further expanding the sense of grief and despair (Example 6-
24).
156 Howells, Rhapsody IV and Prelude De Profundis , 10. 157 Palmer, Herbert Howells, A Study , 66. 85
Example 6-24. Prelude De Profundis , mm. 1-6158
The descending minor second interval figures prominently in this opening section. The first interval of both the right and left hand, and the final interval of the first pedal phrase, the descending minor second helps to establish the desolation from which the cries emanate.
As was the case with Psalm Prelude, Set 2, No. 1, the piece starts quietly and then begins a gradual increase in dynamic and tempo level as the cries become more insistent.
A striking transformation of the materials thus far presented occurs in m. 34-47 (Example
6-25).
158 Howells, Rhapsody IV and Prelude De Profundis , 14. 86
Example 6-25. Prelude De Profundis , mm. 39-47 159
The predominantly downward movement of all voices is interrupted by this ascending
motion. The upward movement could represent a response to the prayers; the consoling
voice of God. Alternately, it could be viewed as a new expression of anguish—a new
way of engaging the one to whom the cries are addressed.
Thickening texture, an accelerando , and a crescendo all contribute to the building intensity, which culminates at m. 65 with employment of full swell and introduction of a new thirty-second note gesture in the manuals. The loudest dynamic level yet indicated in the piece appears in this section: ff (Example 6-26).
159 Howells, Rhapsody IV and Prelude De Profundis , 16.
87
160 Example 6-26. Prelude De Profundis , mm. 65-70
The introduction of the tuba at m. 71 represents yet another increase in the intensity level of the cries. This is the first time in the rhapsody-based pieces with text association— other than the settings of Psalm 33—where Howells calls for this stop. The climactic moment of the piece occurs at m. 93. It is signaled by the dynamic marking of fff , the change of key signature from five sharps to two sharps, and the arrival of a D major chord marked Fieramente —proudly or boldly (Example 6-27). The cries are now being offered in a new and bold way at the loudest dynamic level possible. While the entreaties have a certain strength of determination, the descending minor second interval from the first measures is still present, and simultaneous cross relations in octaves provide anguished dissonance.
160 Howells, Rhapsody IV and Prelude De Profundis , 18. 88
Example 6-27. Prelude De Profundis , mm. 93-95 161
This is followed by a fairly rapid decrease in tempo and dynamic level as a calmer
mood prevails. From m. 117 to the conclusion of the piece, Howells writes a
rearticulated pedal F-sharp that provides an underpinning to a return of the opening
theme. The steady, unwavering repetition of this pitch could be viewed as the presence
of the Almighty providing support; a calming presence in the face of difficulty (Example
6-28).
Example 6-28. Prelude De Profundis , mm. 117-121 162
The earlier work associated with this text, Psalm Prelude, Set 2, No. 1, had a clear musical reference to Hymnus Paradisi at its conclusion, and a link between Prelude De
161 Howells, Rhapsody IV and Prelude De Profundis , 20. 162 Howells, Rhapsody IV and Prelude De Profundis , 21. 89
Profundis , written nearly twenty years later, and the choral work can also be detected.
Movement IV ( Sanctus / I Will Lift Up Mine Eyes ) of Hymnus Paradisi combines the
Sanctus text with Psalm 121 and ends in F-sharp major with the text “The Lord shall preserve thee from all evil. Yea, it is even he that shall keep thy soul. The Lord shall preserve thy going out, and thy coming in: from this time forth forevermore.” 163 The allusion to the divine care and protection depicted in the choral work would seem an apt way to conclude this organ piece concerned with cries from the deep. Prelude De
Profundis does not conclude with a placid F-sharp major chord however. Howells employs both A-sharp and A-natural in the concluding measures and the resulting ambiguity creates an atmosphere of instability. The dissonance provided by the simultaneous cross relation in the final chord serves as a reminder of the pain at the root of this outpouring of emotion (Example 6-29).
Example 6-29. Prelude De Profundis , mm. 142-146 164
163 Howells, Hymnus Paradisi , 64-68. 164 Howells, Rhapsody IV and Prelude De Profundis , 22. 90
CHAPTER SEVEN: PERFORMANCE CONSIDERATIONS
The Evolution of the British Organ in the Twentieth Century
Through the second half of the nineteenth century, organ building in England underwent significant changes. The tonal schemes were expanded, more efficient methods of supplying wind were discovered, and the mechanical or tracker action was replaced by pneumatic and electrical mechanisms. By around 1900, a type of organ emerged that was peculiar to England; it is sometimes known as “romantic,” “romantic- symphonic,” or “orchestral.” Orchestral textures and timbres dominated organ writing of the time and the instruments were designed, in terms of their tonal resources, winding, and action, to be able to reproduce orchestral effects. 165
Features of the organ included diapason tone based on the German Prinzipal , but with increased scale and winding and a wider mouth. The result favored the fundamental over upper harmonics. Other characteristics included the presence of multiple eight-foot ranks for tonal variety rather than traditional chorus work. Upper work did not disappear entirely, but mutations and separate ranks above the two-foot pitch became very rare.
Mixtures were voiced more softly, broke back more frequently, and sometimes were voiced as strings.166 Smooth, high-pressure reeds became standard features. The organs employed high pressure for volume, which became more important (more highly sought) than clarity.
165 Wells, 8. 166 Wells, 13. 91
It is beyond the scope of this study to examine in detail the various instruments
with which Howells would have been acquainted as he composed specific pieces. Suffice
it to say that characteristics of the orchestral organ just described would have been the
norm for most of the organs Howells had in mind as he composed the organ works
through the 1950s. The Organ Reform Movement, begun decades earlier in Germany, made inroads in Great Britain with the 1954 Harrison and Harrison organ in London’s
Royal Festival Hall. The instrument embodies changes in organ design prescribed by the movement, such as an increase in upper work with more mixtures and mutations on all divisions, harmonic trumpets replacing tubas, a more complete and independent pedal division, and fewer stops at the eight-foot level. It was on this instrument that Howell’s
Partita of 1971/72 was given its premiere. Howells did not specifically write the Partita
for this organ, but he was certainly aware of its design characteristics, and his
composition may reflect his assimilation of its concepts. 167
The latest organ design on which a Howells work was premiered in his lifetime
was the Wm. Hill & Son and Norman & Beard organ built for the Royal College of
Organists in 1967. The Organ Reform principles that influenced the Royal Festival Hall
organ clearly played a role in the design of this instrument. Flourish for a Bidding was
given its initial performance on this instrument in 1968. The bulk of Howells’s organ
works were conceived for the orchestral organ however, and instruments of this design
offer the ideal choice for the interpretation of his compositions.
167 McMillan, 38. 92
Acoustical Properties of English Cathedrals
Howells was inspired by cathedral architecture from an early age, and the
cathedral at Gloucester in particular had a profound impact on him and his development.
His organ works were dedicated to organists playing in the largest and most prominent
cathedrals. He conceived the works for these spaces, all of which boast generous
reverberation times. Peter Hardwick makes the following observation in reference to
Psalm Prelude, Set 2, No. 1 , but it holds true for the organ works in general. He states:
“the ideal acoustics for the performance of this slowly unfolding magnificent elegy are
those of a large stone cathedral, such as that where the dedicatee, William Harris, was
organist.” 168 That Howells considered this in his compositional process is evidenced in his comments regarding his setting of the Magnificat and Nunc Dimittis for St. Paul’s
Cathedral. He stated “The prolonged “echo” notable in St. Paul’s would dictate a less
rapidly-changing harmonic rhythm than would be feasible in many less reverberant
buildings… But with these conditions there goes a heightened volume of sound, and a
tonal opulence commensurate with a vast church.” 169
Implications for North American Organists
More often than not, North American organists performing the works of Herbert
Howells will be working in less reverberant acoustics than the composer envisioned, and
may well be playing on instruments more classically designed than the instruments of his
time. The performer will need to keep these things in mind when interpreting the works.
168 Hardwick, 134. 169 Record jacket notes, Herbert Howells Church Music. Howells was speaking of his setting of the Magnificat and Nunc Dimittis for St. Paul’s Cathedral, composed in 1952. 93
Registrations should consider the tonal schemes common at the time the works were
written. As well, when performing in less reverberant spaces, the player might choose
slightly faster tempi to compensate. To adapt to a drier acoustic, the performer might be
especially vigilant in the application of legato touch, keeping everything as connected as
possible unless otherwise directed by the composer.
The organist seeking to interpret Howells’s organ works in a manner informed by
performance practice would be well served by examining the tradition of organ playing
and teaching from which the composer emerged. In 1877, John Stainer (1840-1901),
organist of St. Paul’s Cathedral and a professor at the National Training School,
published an organ method book entitled The Organ . In it, Stainer describes the contemporary British organ while codifying its registrational practices. The significance of this for the study of Howells is that Stainer studied with the same teacher—Frederick
A. Gore Ouseley (1825-1889)—as Walter Parratt (1841-1924), who would later teach
Herbert Brewer (1865-1928) and Herbert Howells. Both Stainer and Parratt came from the same tradition and both had connections to the Royal College of Music; Stainer as
Professor of Organ at the National Training School, which later became the Royal
College of Music, and Parratt as Professor of Organ at the newly formed RCM in
1883. 170
Parratt’s colleague Walter Alcock (1861-1947), who studied with Stainer at the time the tutor was published, later wrote a method book to update that of Stainer. These two books contain much information to assist the organist. Of particular use is Stainer’s
170 McMillan, 56-58. 94
discussion of the combination of stops. He offers suggestions for the performer on how
to combine stops to achieve various dynamic levels on each of the manual and pedal
divisions. The following registration tables and suggestions on combining stops are taken
from Stainer’s book. 171 This information is useful in the interpretation of the Howells
organ works as the composer rarely specifies registration, preferring to provide a
dynamic level such as f or mp .
COMBINATION OF STOPS
The following tables of combinations will teach the student the principles on which stops are added to each other, and what stops to draw when practicing by himself. It will be found that in the case of a large organ, the numbers of Foundation, Mutation, and Compound stops remain in much the same proportion as in a small instrument.
GREAT ORGAN
The progressive stages of tone on the Great Organ will be (if the instrument has no Choir Organ):
Dulciana 8’ Lieblich, or pp Stopped Diapason, 8-foot tone p (bright) (other combinations as below) Gamba (if soft), 8’ Flute, 4-foot tone or 4’
171 Stainer and F. Flaxington Harker, The Organ (New York: G. Schirmer, Inc., 1909),23-26, 28- 29. 95
Or (if there is a Choir Organ)
Clarabella, 8’, or Melodia pp Stopped Diapason, 8-foot tone p mf Soft Open Diapason , 8’ ...... (rich) mf mf Large Open Diapason, 8’...... (fuller (almost f) Gamba, 8’, or Viola, or Viol da Gamba ...... and f Flute, 4’ ...... (brighter) Principal, 4’, or Octave...... ff Double Diapason, 16’, or 16-foot tone...... Twelfth, 2’ 8”, or Octave-Quint ...... Fifteenth, 2’ ...... Sesquialtera ...... Mixture...... Double Trumpet, 16’ ...... Trumpet, 8’...... Clarion, 4’ ......
If the Great Organ pipes are not on a high pressure of wind, the following would be a common gradation of power on a small instrument:
Stopped Diapason, 8-foot tone Clarabella, 8’ ...... pp p Open Diapason, 8’ ...... mf Principal, 4’...... f Flute, 4-foot tone...... ff Twelfth, 2 2/3’...... Fifteenth, 2’ ...... Bourdon, 16-foot tone ...... Sesquialtera ...... Trumpet, 8’......
… 96
SWELL ORGAN
The chief characteristic of the Swell Organ is the number of its reed-stops. The fine crescendo obtained by their use accounts for this.
The following will show the ordinary gradations of tone required:
Vox Angelica, or Aeoline, or Salicional, or pp Dulciana, 8’ pp Quintadena, 8’ (rather fuller) p Stopped Diapason, or ...... mf Lieblich, 8-foot tone ...... Open Diapason, 8’ ...... f Double Dulciana, or ...... Bourdon, 16-foot tone ...... ff Principal, 4’, or Octave ...... Oboe, or Hautboy, 8’ ...... Fifteenth, 2’ or Flautina ...... Cornopean, or ...... Trumpet, 8’ ...... Sesquialtera, or ...... Mixture, or ...... Echo Cornet ...... Double Trumpet, 16’ ...... Clarion, 4’ ......
… 97
CHOIR ORGAN
As a rule, stops of a delicate quality of tone are generally assigned to the Choir Organ. The following would be ordinarily a graduated list of combinations on the Choir Organ:
Dulciana, or pp Salicional, 8’ p Viol da Gamba, 8’ ...... mf Lieblich, or ...... mf Stopped Diapason, 8-foot tone ...... (bright) f Clarabella ...... ff Open Diapason ...... (very Flute, 4’ ...... bright) Principal, 4’...... Piccolo, or ...... Flageolet, 2-foot tone ......
… SOLO ORGAN
As its name implies, to this organ are assigned stops for solo use. Except in very large organs, not more than four distinct qualities of tone are found amongst these registers, namely, Flute (8’ or 4’), Oboe (Orchestral), Clarinet, Tromba (or Tuba). It will hardly be expected that anything should be said as to the “combination” of stops specially intended for independent use. All that need be pointed out is, that many organists always use an 8-foot Flute or Clarabella with the Clarinet, in order to give it more body. Some players always use an 8-foot Flute with the solo Tromba (or Tuba), because it gives mellowness to the tone. The solo stops can be accompanied by any row of keys found suitable. On account of the remarkable power of the Tromba, the Great Organ is frequently used as an accompaniment to it. When this stop is of a rich, pure tone it may occasionally be used in full chords, either on its own row of keys or coupled to the Full Great. Stops usually found on the Solo Organ are:
Stentorphone 8’. A powerful Diapason stop. Gross Flute, 8’. A flute of the Melodia quality. Violoncello, 8’. A rich and full Gamba stop. Orchestral Flute, 4’. Voiced specially to imitate the orchestral instrument. Flûte harmonique, 4’. Sweet and clear tone. Orchestral Clarinet, 8’. Closely resembling the orchestral instrument. Bass or Double Tuba, 16’. Full, rich reed-tone. Tuba Mirabilis, 8’. A smooth, heavy reed.
… 98
PEDAL ORGAN
On small organs the player has not a large number of pedal stops to select from. On large instruments considerable skill may be displayed in the use of varieties of tone on the Pedal Organ and their adjustments to the power and quality of the manuals. On organs with two pedal stops, a Bourdon of 16-foot tone (or in its place a Violone of 16’), forms the soft pedal, and an Open Diapason of 16’ is added for forte passages; all other gradations of tone being obtained by coupling the manuals to the pedals. A pedal stop of 32-foot length is rarely used alone except in its upper portion.
Double Diapason, 32’ Bourdon, 16-foot tone, or pp mf Violon, 16’ p Open Diapason, 16’...... f Bass Flute, 8’...... Principal, 8’...... ff Violoncello, 8’...... Mixture ...... Quint, 10 2/3...... Contra-Posaune, 32’...... Trombone, 16’...... Clarion, or ...... Trumpet, 8’...... … GENERAL REMARKS
In the matter of combining stops, a little experience is worth a vast amount of theory. A refined ear and good taste will point out unmistakably, first, what combinations of stops produce a really good tone; next, which combination is most suitable for a particular passage. It is specially necessary to warn young organists against implicit obedience to the directions given in arrangements for the organ. For instance, “full swell” is pianissimo on some organs in large buildings, but fortissimo on many others; “up to mixtures” in old cathedral organs means a rich mezzo forte , whereas in a modern organ (especially in a small place) it is probable the result would be a screamy fortissimo . When an “arranger” has an instrument with bad “Double Diapasons” he is constantly writing the direction “without doubles,” whereas, if they are so properly voiced as to become a subordinate ingredient of the tone, their frequent use is not only admissible but desirable. On an instrument with a small, weak-toned Pedal Organ, a good player frequently plays the pedal part in octaves, but if this were to be indiscriminately followed on a properly balanced instrument the effect would be detestable. Many German writers have written for organs possessing a large independent Pedal Organ, but very intractable couplers (if any) of “manuals” to “pedals”; in order to get strength of tone these composers give frequent passages in octaves. When played on an English organ with proper couplers these gymnastic efforts may often (not always) be dispensed with. 99
CHAPTER EIGHT: CONCLUSION
This examination of the rhapsody-based organ works of Herbert Howells has revealed a constellation of similarities in approach to the genre, regardless of whether there is a text association or not. The rhapsodizing on a single theme has occurred in a similar fashion, with comparable compositional techniques including use of arch form, thematic transformation, and signature motives. The approach to counterpoint, rhythm and meter; the harmonic language, and the melodic style remain consistent. Despite the apparent musical similarities however, Howells has chosen to assign texts to a certain segment of this output, and where he has done so, he has provided a framework that can assist the performer in the interpretation of the music. By drawing connections between the texts and the musical gestures, we can uncover the inherent expressive effects and can use them to shape our performances.
There is much agreement among scholars on the essence of Howells as composer.
He was primarily motivated by beauty of sound, and his output stands as a testament to that inspiration. His music, instantly recognizable, is concerned with expression of a mood. He has a sense of the romantic, and a penchant for flow. He found something new to say within the context of a conventional tradition.
John Wells sums up Howells’s contribution to organ literature by saying the following:
With the work of Herbert Howells, twentieth-century English organ music came of age. Howells gave to the organ a sizeable body of literature of beauty and power; he successfully reconciled his inner musical requirements as a composer with the idiosyncratic possibilities and limitations of the orchestral organ, 100
transforming it into an instrument to be reckoned with by any musical standards. 172
Christopher Palmer affords Howells a significant place as composer:
When the full history of the English Musical Renaissance comes to be written, Howells will emerge as a much more substantial figure than is generally allowed, perhaps even as a major composer of his generation. 173
172 Wells, 101. 173 Christopher Palmer, “Herbert Howells at 80: A Retrospect,” The Musical Times 113 (1972): 970. 101
APPENDIX A: DEDICATEES OF HOWELLS’S ORGAN WORKS
Organ Work Dedicatee 174
Sonata in C Minor Ambrose Porter (1885-1970) was an articled pupil of Herbert Brewer at Gloucester Cathedral. Porter was appointed deputy organist at the Cathedral, later becoming Organist and Master of the Choristers at Lichfield Cathedral. His Fugue in C Minor was dedicated to Herbert Howells and was published by Novello in 1938.
Rhapsody Op. 17 No. 1 Harold Darke (1888-1976) studied with Walter Parratt and C.V. Stanford at the Royal College of Music, completing his studies before Howells arrived. He earned Associate and Fellowship Diplomas from the Royal College of Organists, and B.Mus and D.Mus degrees from Oxford University. Darke’s Chorale Prelude on the Tune “St. Peter” was dedicated to Howells.
Rhapsody Op. 17 No. 2 Dr. W. G. Alcock, M.V.O. (1861-1947) studied with Sir Arthur Sullivan and John Stainer at the National Training School (precursor to the Royal College of Music). He assumed the role of assistant to J. Frederick Bridge at Westminster Abbey in1886, holding that position for thirty years. Heir apparent to Bridge, he finally left the Abbey in 1917 after years of waiting and took the position of organist and choirmaster at Salisbury Cathedral. One year later Bridge retired from Westminster, but Alcock was not invited to return to the Abbey to take his position. One of the pre-eminent organists of his day, he published a method book, The Organ of 1913. It was a successor to The Organ penned by his teacher, John Stainer.
174 This summary draws from material found in McMillan, 110-379. 102
Rhapsody Op. 17 No. 3 Dr. Edward Cuthbert Bairstow (1874-1946) began as a student of Sir Walter Parratt’s brother, Henry, at Huddersfield Parish Church. He was an articled pupil of Sir Frederick Bridge at Westminster Abbey during the time that Walter Alcock was assistant organist there. From 1913-1946, he served as organist and master of the choristers at Yorkminster. It was while visiting Bairstow that Howells composed Rhapsody Op. 17 No. 3. In 1932, Bairstow was knighted by King George V. Bairstow composed an introit for the coronation of George VI in 1937.
Psalm Prelude, Set 1, Op. 32 No. Sir Walter Parratt (1841-1924) as a child studied the 1 music of Bach, Schumann, and Mendelssohn. Early appointments included those at St. Paul’s Church, Huddersfield, Wigan Parish Church, and Magdalen College, Oxford. Subsequent appointments included St. George’s Chapel, Windsor Castle, and the newly formed Royal College of Music at which he was principal professor of organ. From 1908 to 1918 he was professor of music at Oxford. Parratt was the teacher of many influential musicians including Thomas Armstrong, Herbert Brewer, Harold Darke, Walford Davies, Herbert Howells, John Ireland, T. Tertius Noble, Leopold Stokowski, and Ralph Vaughan Willams.
Psalm Prelude, Set 1, Op. 32 No. Harry Stevens-Davis was a City of London financier 2 who became a pupil of Howells. At the time he was acting organist of Beaconsfield Parish Church. One Saturday morning, Stevens-Davis asked Howells for an easy piece that he could play as a voluntary the next day. Howells wrote the piece rather than giving the lesson. The piece was rehearsed on Saturday afternoon and was given its first performance the following day. 103
Psalm Prelude, Set 1, Op. 32 No. Sydney Gordon Shimmin (1891-1968) was born in 3 Liverpool and attended the Royal College of Music from 1910. He, like Howells, studied the organ with Walter Parratt, composition with C.V. Stanford, and choral conducting with Walford Davies. His appointment as organist of the Chapel Royal Windsor Great Park was followed by his performing the same role at Beaconsfield Parish Church. He enlisted in the army in 1915, serving in the medical corps. It was during this year that Howells dedicated Psalm Prelude, Set 1 , Op. 32 No. 3 to Shimmin. After the war, Shimmin became a Music Master at Malvern College and at Cheltenham Ladies College. In 1946, Shimmin founded the Cheltenham Bach Choir.
Sonata No. 2 George Thalben-Ball (1896-1987) was a friend of Herbert Howells for over seventy years. Both men attended the Royal College of Music, Thalben-Ball beginning study there the year before Howells. His distinguished career as pianist and organist was marked by a series of academic activities and accomplishments. From 1923 until 1982, he served as organist at the Temple Church. In 1949, he became city organist of Birmingham, and in that position, performed over 800 recitals in over thirty years. Thalben-Ball played for the wedding of Howells and Dorothy Goozee Dawe in 1920. He subsequently played at the funeral of Michael Howells in 1935. In 1975 he played for the funeral of Dorothy Howells, and in 1983, played for the funeral of Herbert Howells.
Psalm Prelude, Set 2, No. 1 John Dykes Bower (1905-1981) was the son of Ernest Dykes Bower M.D. of Gloucester, the physician who attended to Howells during his illness. John Dykes Bower began his career as organist of St. Mary-de- Lode Church, which lies west of Gloucester Cathedral. He studied with Herbert Brewer at Gloucester Cathedral, later becoming organ scholar at Corpus Christi College, Cambridge. In 1926 he was appointed organist of Truro Cathedral. Ten years later, he was appointed to St. Paul’s Cathedral, London, where he remained until his retirement in 1967. 104
Psalm Prelude, Set 2, No. 2 William H. Harris (1883-1973) was born and raised in London, where he received his early training as a chorister at Holy Trinity Tulse Hill. He became a Fellow of the Royal College of Organists before the age of sixteen, and then went to the Royal College of Music to study organ with Walter Parratt. Appointments in the London area were followed by positions at Lichfield Cathedral, New College, Oxford, and Christ Church Cathedral, Oxford. In 1933 he assumed the role of organist and master of the choristers at St. George’s Chapel, Windsor Castle, where he remained until his retirement in 1961. Howells and Harris were colleagues for over forty years at the Royal College of Music. Both men were friends of Marion Scott, whose father died twelve days after Michael Howells. The double grief among the inner circle at the Royal College of Music may have prompted the later dedication of Psalm Prelude, Set 2, No. 2 to Harris. Harris died in September, 1973 on the twenty-eighth anniversary of the death of Michael Howells.
Psalm Prelude, Set 2, No. 3 Percy Clarke Hull (1878-1968) joined Hereford Cathedral as a chorister in 1889 and spent his musical life there. In 1896, he became assistant to George Robertson Sinclair, organist and master of the choristers at the cathedral. Hull was interned at Ruhleben during World War I, and was therefore absent at the time of Sinclair’s death in 1917. Hull was released and appointed his successor on Armistice Day, 11 November, 1918. Hull conducted the Three Choirs Festivals at Hereford from 1921 to 1949. He retired from the cathedral with the title organist emeritus in 1949. 105
Six Pieces for Organ Herbert Sumsion (1899-1995) was a lifelong friend of Preludio ‘Sine Nomine’ Herbert Howells. The two men had known each other Saraband (for the morning of since their early days together at Gloucester Easter) Cathedral. At the age of fifteen, Sumsion became Master Tallis’s Testament assistant to Herbert Brewer at the cathedral; thereby Fugue, Chorale & Epilogue assuming the same position Howells had held earlier. Saraband (in Modo Elegiaco) Sumsion succeeded Brewer as organist and master of Paean the choristers at Gloucester Cathedral in 1928 and remained there until his retirement in 1967. It was while Sumsion was the director of the Three Choirs Festival in Gloucester that Howells conducted the premiere of Hymnus Paradisi there in 1950. The Howells family shared its grief over the death of Michael with the Sumsion family. It was Herbert Sumsion who drove the Howells family in his car to find a burial place for Michael in Gloucester. In a 1967 broadcast, Howells spoke of his affection for and admiration of Sumsion. At the same time, Sumsion was clipping every press notice of his friend, Herbert Howells.
Three Pieces for Organ Howells sent Intrata No. 2 to Sir Walter Alcock on Intrata No. 2 the occasion of his 80th birthday on 29 December 1941. Howells had earlier dedicated his Rhapsody No. 2 to Alcock, with whom he had gone to Salisbury Cathedral as assistant in 1917. In a letter to Howells, Alcock documented his pleasure in taking the Intrata to the cathedral organ and playing it. In the letter, he recalled the happy times he experienced years earlier, when he and Howells improvised on the organ at Salisbury Cathedral.
Three Pieces for Organ A Flourish (before a Bidding) for Organ was Flourish for a Bidding composed to be auctioned in aid of the Royal College of Organists Fund. The manuscript was awarded to the highest bidder, Novello & Co, for £ 21.00. It remained unpublished until after Howells’s death, when it was released in a volume entitled Three Pieces for Organ , edited by Robin Wells. 106
Three Pieces for Organ Douglas Gerard Arthur Fox (1893-1978) left the St. Louis comes to Clifton Royal College of Music in 1912, the same year that Herbert Howells arrived, to accept a three-year organ scholarship at Keble College, Oxford. Fox displayed prodigious talent at an early age and was exhibiting much promise as an organist when he lost his right arm in 1917 to an injury suffered while serving in France as a second Lieutenant with the 4th Gloucestershire Regiment. Both Howells and Fox were in distress in 1917. Howells would probably not survive; Fox would probably not play again. Both did survive and prosper for more than sixty years. Fox became music director at Clifton College where he taught Sir David Willcocks and Richard Popplewell. While he resumed his career as organ recitalist and continued to perform throughout his life, his lasting legacy is that of a teacher.
Siciliano for a High Ceremony The piece was written for Miss Jane McNeill and first performed at her marriage to the Earl of Dalkeith at St. Giles’ Cathedral, Edinburgh, on 10 January, 1953. Members of one of Scotland’s most distinguished noble families, they were known as the Duke and Duchess of Buccleuch.
Prelude ‘De Profundis’ No dedication 107
Rhapsody IV John Birch (b. 1929) received his early training at Trent College and the Royal College of Music. In 1958, he was appointed organist and master of the choristers at Chichester Cathedral where he remained until 1980. With the organists of Salisbury and Winchester Cathedrals, he re-established the Southern Cathedrals Festival in 1960. Composers including Bernstein (who contributed Chichester Psalms ), Walton, Howells, and Albright were commissioned to write choral music for the festival. From 1959 to 1997, Birch was professor of organ at the Royal College of Organists. He was appointed curator- organist at the Royal Albert Hall in 1984, a position he still holds.
Two Pieces for Organ John Dalby (b. 1910) was born in Shipley, Yorkshire Dalby’s Fancy and trained at Leeds Parish Church in Yorkshire. The Dalby’s Toccata full cathedral choral tradition was established at Leeds Church by S. S. Wesley and continued by musicians such as T. Tertius Noble and Edward Bairstow. From 1938 to 1954, Dalby was organist and choirmaster at St Machar’s Cathedral in Aberdeen. Like Howells, Dalby acquired an interest in sixteenth-century music while in his mid-twenties. John Dalby gave the first performance of Fancy and Toccata during a BBC broadcast from St. Mary’s Episcopal Church, Aberdeen.
Partita Rt. Honorable Edward Heath (1916-2005) served as Prime Minister of the United Kingdom from 1970 to 1974. His first meeting with Howells occurred when Heath was a fifteen-year-old conductor of a mixed choir entered in a competitive music festival for which Howells was an adjudicator. Howells was impressed enough with the young man that he offered to act as a reference when Heath applied for an organ scholarship at Oxford. Howells promised Heath that he would compose an organ work and dedicate it to him should Heath become Prime Minister. After Heath won the election, Howells kept his promise. 108
Epilogue for Organ H.R.H. The Duchess of Kent, Katharine Lucy Mary (b. 1933) is a member of the British Royal Family. The cousin of Queen Elizabeth II, she is strongly associated with the world of music. Epilogue was completed for inclusion in a book of short pieces by leading English composers given to the dedicatee in 1974. Banks Music of York published the collection in 1982. It is entitled The Hovingham Sketches after the ancestral home of the Duchess, Hovingham-Hall, in Yorkshire.
109
APPENDIX B: PERMISSIONS
To the Agreement dated June 5, 2008 between G. Schirmer, Inc. o/b/o Novello & Co. Limited and Don Grice; re: Thesis/Dissertation on Herbert Howells
Three Psalm Preludes Set One Music by Herbert Howells © Copyright 1921 Novello & Co. Limited. All Rights Reserved. International Copyright Secured. Reprinted by Permission.
Three Psalm Preludes Set Two Music by Herbert Howells © Copyright 1940 Novello & Co. Limited. All Rights Reserved. International Copyright Secured. Reprinted by Permission.
Six Pieces for Organ Music by Herbert Howells © Copyright 1987 Novello & Co. Limited. All Rights Reserved. International Copyright Secured. Reprinted by Permission.
Rhapsody IV and Prelude de Profundis Music by Herbert Howells © Copyright 1983 Novello & Co. Limited. All Rights Reserved. International Copyright Secured. Reprinted by Permission.
Sonata for Organ Music by Herbert Howells © Copyright 1934 Novello & Co. Limited. All Rights Reserved. International Copyright Secured. Reprinted by Permission.
Hymnus Paradisi Music by Herbert Howells © Copyright 1950 Novello & Co. Limited. All Rights Reserved. International Copyright Secured. Reprinted by Permission. 110
REFERENCES
Andrews, Paul. “Herbert Howells.” Grove Music Online (Accessed 23 October 2007)
Beechey, Gwilym. “Herbert Howells Psalm Preludes.” The American Organist 18 (1984): 44-45.
Bevan, George. “Herbert Howells and the organ: a critical study of autograph manuscripts and printed editions of selected works for the instrument, as an indication of his compositional process.” M.Mus. dissertation, Royal College of Music, 1992/93.
Bird, Elizabeth Ann. “The Instrumental and Choral Music of Herbert Howells.” M.A. dissertation, University of Wales (Bangor), 1982.
Bradbury, Ernest. “Pen Portrait: Herbert Howells.” The Musical Times 99 (1958): 193-194.
Brunelle, Philip. “Tribute to Herbert Howells.” The American Organist 17 (1983): 10.
Campbell, Stuart. “Three Pieces for Organ.” BIOS: Journal of the British Institute of Organ Studies 13 (1989): 123-124.
Clark, Relf. Elgar and the Three Cathedral Organists and Other Essays . Oxford: Positif Press, 2002.
Drakeford, Richard. “Herbert Howells, Some Personal Reminiscences. A Centenary Tribute from Richard Drakeford.” The Musical Times 133 (1992): 501-503.
Eggar, Katharine E. “An English Composer: Herbert Howells.” The Music Teacher and Piano Student 15 (1922): 129-131.
Evans, Edwin. “Modern British Composers. VIII. Herbert Howells.” The Musical Times 61 (1920): 87-91.
Evans, Edwin. “Modern British Composers. VIII. Herbert Howells (continued).” The Musical Times 61 (1920): 156-159.
Finzi, Gerald. “Herbert Howells.” The Musical Times 95 (1954): 180-183.
Fellowes, Edmund H. English Cathedral Music . New edition revised by J. A. Westrup. London: Methuen & Co. Ltd., 1969.
Foss, Hubert J. “Herbert Howells: A Brief Survey of His Music.” The Musical Times 71 (1930): 113-116. 111
Grace, Harvey. “Herbert Howells’s Organ Sonata.” The Musical Times 75 (1934): 324- 327.
______. “Review: New Music: Organ (Psalm Preludes Set 2).” The Musical Times 81 (1940): 209-212.
Hardwick, Peter. British Organ Music of the Twentieth Century . Lanham, Maryland: The Scarecrow Press, Inc., 2003.
Hodgson, Peter John. “The Music of Herbert Howells.” Ph.D dissertation, The University of Colorado, 1970.
Howells, Herbert. Herbert Howells & the Organ: The 30s & 40s . Robert Benjamin Dobey. Digital disc. Pro Organo, CD7005, 1988.
______. Hymnus Paradisi . Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1950.
______. Hymnus Paradisi Sir Patrick Spens . Bournemouth Symphony Orchestra, cond. David Hill. Digital disc. Naxos, 8.570352, 2007.
______. Organ Sonata No. 1 in C Minor . Edited by Graham Matthews and Robin Wells. Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1992.
______. Partita . Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1972.
______. Rhapsody IV and Prelude De Profundis for Organ . Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1983.
______. Siciliano for a High Ceremony . Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1957.
______. Six Pieces for Organ . Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1953.
______. Sonata for Organ . Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1934.
______. The St. Paul’s Service and other Music by Herbert Howells . St. Paul’s Cathedral Choir, John Scott, Christopher Dearnley. Digital disc. Hyperion, CDD22038, 1998.
112
______. The Organ Music of Herbert Howells . Stephen Cleobury, organist. Digital disc. Priory, PRCD480, 1994.
______. Three Pieces for Organ . Edited by Robin Wells. Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1987.
______. Three Psalm Preludes for Organ Set One. Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1921.
______. Three Psalm Preludes for Organ Set Two. Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1940.
______. Three Rhapsodies for Organ . New York: Galaxy Music Corporation, 1986.
______. Two Pieces for Organ . Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1982.
______. Two Slow Airs . Arranged by Robin Wells. Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1987.
Howells, Herbert and George Dyson. In Gloucestershire, Three Rhapsodies . Divertimenti. Digital disc. Hyperion CDA66139, 1988.
McMillan, John Nixon. The Organ Works of Herbert Howells (1892-1983) . Ann Arbor, MI: University Microfilms International, 1997.
Milner, Arthur. “Organ Music of Our Century: 12. The Organ Sonata of Herbert Howells.” The Musical Times 105 (1964): 924-926.
Nicholas, Michael. “Herbert Howells: An Appreciation.” Organists’ Review 68 (1983): 15- 16.
Ottaway, Hugh. “Herbert Howells and the English Revival.” The Musical Times 108 (1967): 897-899.
Palmer, Christopher. Herbert Howells—A Centenary Celebration . London: Thames Publishing, 1992.
______. “Herbert Howells at 80: A Retrospect.” The Musical Times 113 (1972): 967- 970.
______. Herbert Howells, A Study . Borough Green, Sevenoaks, Kent: Novello & Company Limited, 1978.
113
______. “Obituary: Herbert Howells.” The Musical Times 124 (1983): 251.
Rink, John. “Rhapsody.” Grove Music Online (Accessed 23 October 2007)
Routley, Erik. Twentieth Century Church Music . London: Herbert Jenkins Ltd., 1964.
Schemanske, Joyce Anne. “The Organ Music of Herbert Howells as Influenced by the English Musical Renaissance.” D.Mus. dissertation, Northwestern University, 1982.
Spicer, Paul. Herbert Howells . Brigend, Wales: Poetry Wales Press Ltd., 1998.
______. “Herbert Howells’s Organ Sonata.” The Musical Times 118 (1977): 857-858.
______. “The Organist’s Repertory—18: Herbert Howells’s Partita.” The Musical Times 115 (1974): 881-883.
Stainer, John and F. Flaxington Harker. The Organ . New York: G. Schirmer, Inc., 1909.
Sutton, Wadham. “The Organist’s Repertory—5: The Organ Music of Herbert Howells.” The Musical Times 112 (1971): 177-178.
Thompson, Wendy and Jane Bellingham. “Rhapsody.” The Oxford Companion to Music . ed. Alison Latham, 1054. Oxford: Oxford University Press, 2002.
Trend, Michael. The Music Makers . London: Weidenfeld & Nicolson, 1985.
Various. Hovingham Sketches, The . York: Banks Music Publications, 1982.
Vaughan Williams, Ralph. Fantasia on a Theme by Thomas Tallis . London Philharmonic Orchestra, cond. Sir Adrian Boult. Digital disc. EMI, CDC7472132, 1985.
Webber, Nicholas. “Herbert Howells 1892-1983.” The American Organist 17 (1983): 32- 34
Weeks, John R. “Howells’s Salisbury Period.” The Musical Times 127 (1986): 225-227.
Wells, John. “Twentieth-Century English Organ Music.” D.Mus. dissertation, Indiana University, 1978.
Wells, Robin. “A Flourish for Howells.” The Musical Times 133 (1992): 360-362.
______. “Howells’s Unpublished Organ Works.” The Musical Times 128 (1987): 455- 459. 114
______. “The Organ Music of Herbert Howells.” The Diapason 83 (1992): 10-11.